LUCA  DELLA  ROBBIA 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/lucadellarobbia00marq_0 


Princeton  Monographs  in  Art  and  Archaeology  III 


LUCA  DELLA  ROBBIA 


BY 

ALLAN  MARQUAND 

PROFESSOR  OF  ART  AND  ARCHAEOLOGY  IN  PRINCETON  UNIVERSITY 


PRINCETON  UNIVERSITY  PRESS 
PRINCETON 

LONDON:  HUMPHREY  MILFORD 
OXFORD  UNIVERSITY  PRESS 
1914 


Copyright,  1914,  by  Princeton  University  Press 

Printed  by  Princeton  University  Press 
Princeton,  N.  J.,  U.  S.  A. 

Published  October,  1914 


^EMTSR 


t'Sfl 


to  E.  M. 


PREFACE 


The  object  of  this  volume  is  to  present  a Catalogue  Raisonne  of  the 
works  of  Luca  della  Robbia.  The  monuments  are  arranged  in  chrono- 
logical sequence  together  with  their  related  documents  and  bibliography. 
Some  of  the  monuments  and  some  of  the  documents  are  now  published  for 
the  first  time.  It  has  not  been  deemed  advisable  to  record  here  all  the  works 
which  others  have  attributed  to  Luca  della  Robbia.  However,  in  the  last 
chapter  I have  enumerated  some  monuments,  which,  while  not  the  work 
of  Luca’s  hand,  more  or  less  directly  reflect  his  style.  Other  volumes  will 
follow  on  Andrea  della  Robbia,  Giovanni  della  Robbia,  and  the  Robbia 
School. 

I here  acknowledge  many  favours  from  Dr.  William  Bode  and  from 
Mr.  Rufus  G.  Mather.  The  documents  have  been  revised  with  care  by 
Professor  Dr.  Eugenia  Levi. 


CONTENTS 


CHAPTER  I 

I43°‘I44° 


I. 

i43I‘I438- 

The  Marble  Cantoria. 

2 

Two  Bronze  Angels. 

3- 

The  Figdor  Mirror. 

4- 

The  Visitation. 

5- 

J434- 

Colossal  Head. 

6. 

M37-I439- 

The  Campanile  Marble  Reliefs. 

7- 

J439- 

The  Marble  Altar  of  S.  Pietro. 

8. 

The  Lunette  from  S.  Pierino. 

9- 

The  Jacquemart- Andre  Madonna. 

IO. 

The  Wellington  Adoration. 

1 1. 

The  Wellington  Madonna. 

12. 

The  S.  Donato  Madonna. 

13- 

The  Altman  Madonna. 

CHAPTER  II 
1440-1450 

i4- 

The  Peretola  Tabernacle. 

I5- 

The  Via  dell’  Agnolo  Lunette. 

1 6. 

The  Mugello  Lunette. 

1 7- 

The  Cappuccini  Tondo. 

18. 

1 442- 1 445. 

The  Resurrection  Lunette. 

19. 

M46-I451- 

The  Ascension  Lunette. 

20. 

I445'I452- 

Heads  of  Prophets  for  the  Bronze  Doors. 

2 1. 

1448. 

Ceiling  and  Roof  of  the  Cappella  del  Crocifisso. 

22. 

Vault  and  Pavement  for  Study  of  Piero  dei 
Medici. 

23- 

1448-1451. 

Candelabrum-bearing  Angels. 

X 


CONTENTS 


2 4.  1449.  A Spiritello. 

25.  The  Apostles  of  the  Cappella  Pazzi. 

26.  The  Frescobaldi  Madonna. 


CHAPTER  III 


27.  1449-1450. 

28. 

29. 

30. 

31- 

32- 

33-  i455_i456- 

34- 

35- 
36. 

37- 

38. 

39- 

40. 

4i- 

42. 

43- 

44. 

45- 

46. 

47- 

48. 

49. 

5°- 

51- 


1450-1460 

The  Urbino  Lunette. 

The  Innocenti  Madonna. 

The  Madonna  of  the  Apple,  Berlin. 

The  Madonna  of  the  Apple,  Florence. 

The  Madonna  from  S.  Maria  Nuova. 

The  Madonna  of  the  Rose  Garden. 

The  Federighi  Tomb. 

Stem m a of  the  Physicians  and  Apothecaries. 
Stem  m a of  the  Stone  Masons  and  Woodcarvers. 
Stemma  of  the  Silk  Merchants. 

The  Impruneta  Tabernacles. 

The  Genoese  Madonna,  Benda  Collection. 

The  Genoese  Madonna,  E.  Simon  Collection. 
The  Genoese  Madonna,  Berlin  Museum. 

The  Genoese  Madonna,  Museo  Nazionale. 

The  Madonna  of  the  Niche,  Bliss  Collection. 
The  Madonna  of  the  Niche,  Shaw  Collection. 
The  Friedrichstein  Madonna. 

Stemma  of  Jacopo  dei  Pazzi. 

Stemma  of  Maddalena  dei  Serristori. 

The  Heilbronner  Faith. 

The  Heilbronner  Prudence. 

The  Cluny  Temperance. 

The  Cluny  Justice. 

The  Foulc  Adoration. 


CHAPTER  IV 

1460-1470 

52.  1461-1466.  Ceiling  of  the  Portogallo  Chapel. 

53.  1463.  Stemma  of  the  Mercanzia. 


CONTENTS 


xi 


54.  1464-1469.  Panels  for  the  Bronze  Doors. 

55.  The  Incredulity  of  S.  Tommaso. 

56.  1467-1468.  Stemma  of  Rene  d'Anjou. 

57.  Medallion  with  Bust  of  a Youth. 

58.  Ceiling  of  the  Cupola  of  the  Pazzi  Chapel  Porch. 


59.  c.  1472. 

60.  c.  1475. 

61. 

62. 


CHAPTER  V 

1470-1480 

The  Pescia  Altarpiece. 

Ceiling  of  the  Cappella  di  S.  Giovanni,  S.  Giobbe, 
Venice. 

The  Krefeld  Adoration. 

The  Kahn  Nativity. 


CHAPTER  VI 

MANNER  OF  LUCA  DELLA  ROBBIA 


63- 

64. 

65. 

66. 

67. 

68. 


69. 

70. 
7 1- 


73- 

74- 


Style  of  1430-1440.  Stucco  relief  of  the  Trumpeters. 

The  Copenhagen  Madonna. 

Variant  of  the  Copenhagen  Madonna. 

Style  of  1440-1450.  The  Alessandri  Madonna. 

The  Madonna  and  Six  Angels,  Louvre. 

The  Madonna  and  Six  Angels,  Coura- 
jod  Collection. 

The  Madonna  and  Six  Angels,  G.  Drey- 
fus Collection. 

The  Madonna  and  Six  Angels,  L.  Mond 
Collection. 

The  Madonna  and  Six  Angels,  Berlin 
Museum. 

The  Madonna  and  Six  Angels,  Museo 
Industriale. 

Madonna  and  Six  Angels,  Dr.  Lanz  Col- 
lection, Amsterdam. 

The  Madonna  and  Six  Angels,  J.  P. 

Morgan  Collection. 


CONTENTS 


xii 

75.  Style  of  1450-1460.  Bust  of  a Boy,  Museo  Nazionale. 


76. 

Stemma  of  the  Ginori  Family,  Thomas 
F.  Ryan  Collection. 

77- 

Medallion  Head  of  a Lady,  Museo 
Nazionale. 

78. 

Medallion  Head  of  a Lady,  Louvre. 

t 

79- 

Madonna  of  the  Impruneta  Type, 
von  Dirksen  Collection. 

80. 

Madonna  of  the  Impruneta  Type, 
Louvre. 

81. 

Madonna  of  the  Impruneta  Type, 
Berlin  Museum. 

82. 

Madonna  of  the  Impruneta  Type, 
Gallicano. 

§3- 

Madonna  of  the  Impruneta  Type, 
Mrs.  Holman  Hunt  Collection, 
London. 

84. 

Madonna  of  the  Impruneta  Type, 
Mrs.  Holman  Hunt  Collection, 
London. 

85. 

The  Corsini  Madonna,  Palazzo  Corsini. 

86. 

Madonna  of  the  Corsini  Type,  Bardini’s. 

87- 

Madonna  of  the  Corsini  Type,  S.  Maria 
Nuova. 

88. 

Madonna  of  the  Corsini  Type,  Duveen 
Brothers. 

89. 

Madonna  of  the  Corsini  Type,  von  Beck- 
erath  Collection. 

90. 

Madonna  of  the  Corsini  Type,  von  Beck- 
erath  Collection. 

91. 

Madonna  of  the  Corsini  Type,  Berlin 
Museum. 

92. 

Madonna  of  the  Corsini  Type,  Berlin 
Museum. 

93- 

Madonna  of  the  Corsini  Type,  Genoa. 

CONTENTS 


94. 

95- 

96. 

97- 

98.  Style  of  1460-1470. 

99. 

100. 

101. 

102. 

103. 

104. 

105. 

106. 

107. 

108. 

109. 

1 10. 

hi. 

1 12. 


Madonna  of  the  Friedrichstein  Type, 
Brussels. 

Madonna  and  Standing  Child,  Berlin 
Museum. 

Madonna  Holding  Nude  Child,  Bar- 

DINIS. 

Stem m a of  the  Stufa  Family,  Palazzo 
Stufa. 

Stemma  of  Ruberto  Leoni,  S.  Giovanni 
Valdarno. 

Stemma  of  Giovanni  Tornabuoni, 
S.  Giovanni  Valdarno. 

Stemma  of  the  Martelli  Family,  Ryks 
Museum,  Amsterdam. 

S.  Girolamo  Reading,  Victoria  and  Al- 
bert Museum. 

S.  Girolamo  Reading,  John  G.  Johnson 
Collection. 

Lunette  of  God  the  Father  between 
two  Angels,  Opera  del  Duomo. 

Polychrome  Evangelists  of  the  Pazzi 
Chapel. 

The  Fortnum  Medallion,  Oxford. 

Madonna,  Type  of  the  Fortnum  Medal- 
lion, von  Bulow  Collection. 

Madonna,  Type  of  the  Fortnum  Medal- 
lion, Berlin  Museum. 

Madonna,  Type  of  the  Fortnum  Medal- 
lion, Berlin  Museum. 

Madonna,  Type  of  the  Fortnum  Medal- 
lion, Florentine  Dealer. 

Madonna,  Type  of  the  Fortnum  Medal- 
lion, Louvre. 

The  Rovezzano  Madonna,  Rovezzano. 

Madonna  of  the  Rovezzano  Type, 
Liechtenstein  Collection. 


XIV 


CONTENTS 


:i3- 

114. 

TI5- 

1 16. 

1 17. 

118. 

119. 

120. 

121. 
1 22. 
I23- 

124. 

I25- 

126. 

127. 


Madonna  of  the  Rovezzano  Type, 

Eduard  Simon  Collection. 

Madonna  of  the  Rovezzano  Type, 

Mrs.  0.  A.  Shaw  Collection. 

Madonna  of  the  Rovezzano  Type, 

Mrs.  Holman  Hunt  Collection. 

Madonna  of  the  Rovezzano  Type, 

Victoria  and  Albert  Museum. 

von  Beckerath  Seated  Madonna,  Ber- 
lin Museum. 

Seated  Madonna  of  tfie  Beckerath 
Type,  Victoria  and  Albert 
Museum. 

Seated  Madonna  of  the  Beckerath 
Type,  Berlin  Museum. 

Seated  Madonna  of  the  Beckerath 
Type,  Thomas  F.  Ryan  Collec- 
tion. 

Style  of  1470-1480.  Stemma  of  the  Capponi  Family. 

The  Shaw  Nativity. 

Madonna  adoring  the  Child,  Museo 
Nazionale,  No.  21. 

Madonna  adoring  the  Child,  Newman 
School,  Hackensack,  N.  J. 

Madonna  adoring  the  Cfiild,  Museo 
Nazionale,  No.  48. 

Madonna  adoring  the  Child,  Genoa. 

Fragments  of  Angels,  Berlin. 


ILLUSTRATIONS 


PAGE 

1.  The  Marble  Cantoria.  Florence,  Duomo.  Photo.,  Alinari, 

2546  4 

2.  The  Marble  Cantoria.  Detail.  Photo.,  Burton  & Co. ..  . 5 

3.  The  Marble  Cantoria.  Detail.  Photo.,  Burton  & Co. ..  . 6 

4.  The  Marble  Cantoria.  Detail.  Photo.,  Brogi,  13300.  . . 7 

5.  The  Marble  Cantoria.  Detail.  Photo.,  Burton  & Co. ..  . 8 

6.  The  Marble  Cantoria.  Alleluia  Relief.  Photo.,  Brogi, 

3249  9 

7.  The  Marble  Cantoria.  Trumpeters.  Photo.,  Brogi,  3251  9 

8.  The  Marble  Cantoria.  Detail.  Photo.,  Brogi,  9537....  10 

9.  The  Marble  Cantoria.  Putto  playing  Psaltery.  Photo., 

Brogi,  9536  10 

10.  The  Marble  Cantoria.  Psaltery  Players.  Photo.,  Brogi, 

3254  11 

11.  The  Marble  Cantoria.  Cithara  Players.  Photo.,  Brogi, 

3252  12 

12.  The  Marble  Cantoria.  A Drummer.  Photo.,  Brogi.,  9519  12 

13.  The  Mable  Cantoria.  Drummers.  Photo.,  Brogi,  3248..  13 

14.  The  Marble  Cantoria.  Choral  Dancers.  Photo.,  Brogi, 

3256  14 

15.  The  Marble  Cantoria.  Detail.  Photo.,  Brogi,  9521....  14 

16.  The  Marble  Cantoria.  Organ  and  Harp.  Photo.,  Brogi, 

3255  15 

17.  The  Marble  Cantoria.  Tambourine  Players.  Photo., 

Brogi,  3253  16 

18.  The  Marble  Cantoria.  Cymbal  Players.  Photo.,  Brogi, 

3257  16 

19.  The  Marble  Cantoria.  Alleluia  Relief.  Photo.,  Brogi, 

3250  17 

20.  The  Figdor  Mirror.  Vienna.  Photo.,  Bruckmann 26 


XVI 


ILLUSTRATIONS 


PAGE 

21.  The  Visitation.  Pistoia.  S.  Giovanni  fuorcivitas.  Photo., 

Alinari,  10207 28 

22.  The  Visitation.  Pistoia.  S.  Giovanni  fuorcivitas.  Photo., 

Burton  & Co 29 

23.  The  Campanile  Reliefs.  Florence.  Grammar.  Photo., 

Brogi,  4179 35 

24.  The  Campanile  Reliefs.  Florence.  Logic.  Photo.,  Brogi, 

4180  36 

25.  The  Campanile  Reliefs.  Florence.  Music.  Photo.,  Brogi, 

4181  37 

26.  The  Campanile  Reliefs.  Florence.  Arithmetic.  Photo., 

Brogi,  4182  38 

27.  The  Campanile  Reliefs.  Florence.  Tubalcain.  Photo., 

Brogi,  4183  39 

28.  The  Altar  of  S.  Pietro.  Florence,  Duomo.  Deliverance 

of  S.  Pietro.  Photo.,  Alinari,  2707 42 

29.  The  Altar  of  S.  Pietro.  Florence,  Duomo.  Crucifixion 

of  S.  Pietro.  Photo.,  Alinari,  2708 43 

30.  The  S.  Pierino  Lunette.  Florence,  S.  Pierino.  Photo., 

Alinari,  2773  45 

31.  The  S.  Pierino  Lunette.  Florence,  Mus.  Naz.  Photo., 

Brogi,  4656 46 

32.  The  Jacquemart-Andre  Madonna.  Paris.  Photo.,  Bruck- 

mann  49 

33.  The  Wellington  Adoration.  Wellington.  Photo.,  A.  C. 

French  & Co 51 

34.  The  Wellington  Madonna.  Wellington.  Photo.,  A.  C. 

French  & Co 53 

35.  The  S.  Donato  Madonna.  Florence.  Photo.,  Alinari,  30470  55 

36.  The  Altman  Madonna.  New  York.  Photo.,  A.  E.  Sproul.  . 57 

37.  The  Peretola  Tabernacle.  Peretola.  Photo.,  Alinari,  3724  62 

38.  The  Via  dell’  Agnolo  Lunette.  Florence,  Mus.  Naz. 

Photo.,  Alinari,  2511  66 

39.  The  Via  dell’  Agnolo  Lunette.  Detail.  Photo.,  Alinari, 

2512  68 

40.  The  Mugeli.o  Lunette.  Berlin  Museum.  Photo.,  Museum  69 


ILLUSTRATIONS  xvii 

PAGE 

41.  The  Cappuccini  Tondo.  Florence,  Mus.  Naz.  Photo., 

Alinari,  2767  71 

42.  The  Resurrection  Lunette.  Florence,  Duomo.  Photo., 

Alinari,  1974 73 

43.  The  Ascension  Lunette.  Florence,  Duomo.  Photo.,  Ali- 

nari, 1973 77 

44.  H eads  of  Prophets.  Sacristy  Doors.  Upper  left  valve. 

Photo.,  R.  H.  Rose  & Son 80 

45.  Heads  of  Prophets.  Sacristy  Doors.  Lower  left  valve. 

Photo.,  R.  H.  Rose  & Son 81 

46.  Heads  of  Prophets.  Sacristy  Doors.  Upper  right  valve. 

Photo.,  R.  H.  Rose  & Son 82 

47.  H eads  of  Prophets.  Sacristy  Doors.  Lower  right  valve. 

Photo.,  R.  H.  Rose  & Son 83 

48.  Cappella  del  Crocifisso.  S.  Miniato.  Photo.,  Alinari,  3365  86 

49.  Cappella  del  Crocifisso.  Detail.  Photo.,  Alinari,  3365a . . 87 

50.  Month  of  May.  Victoria  and  Albert  Museum.  Photo., 

Museum  90 

51.  Month  of  November.  Victoria  and  Albert  Museum. 

Photo.,  Museum  91 

52.  Diagram  of  Vault,  from  Letiiaby,  Burl.  Mag.,  1906,  404. . . 92 

53.  Pavement  at  Empoli.  Drawn  to  order 93 

54.  Candelabrum-bearing  Angel.  Florence,  Duomo.  Photo., 

Brogi.  4910 95 

55.  Candelabrum-bearing  Angel.  Florence,  Duomo.  Photo., 

Brogi,  4911  96 

56.  S.  Andrea.  Florence,  Cappella  Pazzi,  porch.  Photo., 

Brogi,  5859  99 

57.  S.  Matteo.  Florence,  Cappella  Pazzi.  Photo.,  Brogi,  5844  100 

58.  S.  Pietro.  Florence,  Cappella  Pazzi.  Photo.,  Brogi,  5843  101 

59.  S.  Giovanni  Evangelista.  Florence,  Cappella  Pazzi. 

Photo.,  Brogi,  5854  102 

60.  S.  Jacopo  Maggiore.  Florence,  Cappella  Pazzi.  Photo., 

Brogi,  5853  103 

61.  S.  Andrea.  Florence,  Cappella  Pazzi.  Photo.,  Brogi,  5852  103 


xviii  ILLUSTRATIONS 


PAGE 

6 2.  S.  Jacopo  Minore.  Florence,  Cappella  Pazzi.  Photo., 

Brogi,  5851  104 

63.  S.  Simone.  Florence,  Cappella  Pazzi.  Photo.,  Alinari, 

355i  105 

64.  S.  Taddeo.  Florence,  Cappella  Pazzi.  Photo.,  Alinari, 

3550  105 

65.  S.  Tommaso.  Florence,  Cappella  Pazzi.  Photo.,  Brogi, 

5848  106 

66.  S.  Filippo.  Florence,  Cappella  Pazzi.  Photo.,  Brogi,  5847  107 

67.  S.  Mattia.  Florence,  Cappella  Pazzi.  Photo.,  Brogi,  5846  107 

68.  S.  Bartolommeo.  Florence,  Cappella  Pazzi.  Photo., 

Brogi,  5845  108 

69.  The  Frescobaldi  Madonna.  Berlin  Museum.  Photo.,  Ber- 

lin Museum  109 

70.  The  Urbino  Lunette.  Urbino,  S.  Domenico.  Photo., 

Alinari,  17508  113 

71.  The  Innocenti  Madonna.  Florence,  Innocenti  Hospital. 

Photo.,  Brogi,  9918 116 

72.  The  Madonna  of  the  Apple.  Berlin  Museum.  Photo., 

Mertens  117 

73.  The  Madonna  of  the  Apple.  Florence,  Museo  Nazionale. 

Photo.,  Brogi,  9491  118 

74.  The  Madonna  from  S.  Maria  Nuova.  Florence,  Museo 

Nazionale.  Photo.,  Alinari,  2445c 120 

75.  The  Madonna  of  the  Rose  Garden.  Florence,  Museo 

Nazionale.  Photo.,  Brogi,  9475 121 

76.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Photo.,  Ali- 

nari, 3396 123 

77.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Alinari,  3397 124 

78.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Alinari,  3398 124 

79.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Alinari,  3399  125 

80.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Burton  & Co 


126 


ILLUSTRATIONS  xix 

PAGE 

81.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Burton  & Co 126 

82.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Burton  & Co 126 

83.  The  Federighi  Tomb.  Florence,  S.  Trinita.  Detail. 

Photo.,  Burton  & Co 127 

84.  Stemma  of  the  Physicians.  Florence,  Or  San  Michele. 

Photo.,  Alinari,  4657  131 

85.  Stemma  of  the  Stone-masons.  Florence,  Or  San  Michele. 

Photo.,  Alinari,  3441 133 

86.  Stemma  of  the  Silk  Merchants.  Florence,  Or  San 

Michele.  Photo.,  Alinari,  4658 135 

87.  Impruneta.  Cappella  della  Madonna.  Photo.,  Alinari, 

I/003 138 

88.  Impruneta.  Tabernacle  of  the  Madonna.  Photo.,  Brogi, 

9889 140 

89.  Impruneta.  Ceiling  Detail.  Photo.,  Alinari,  17005 141 

90.  Impruneta.  S.  Frieze  of  Cappella  della  Madonna. 

Photo.,  Alinari,  17004 142 

91.  Impruneta.  S.  Frieze  of  Cappella  della  Madonna.  Photo., 

Burton  & Co 143 

92.  Impruneta.  Madonna  of  the  W.  Frieze.  Photo.,  Alinari, 

17004a 144 

93.  Impruneta.  Madonna  of  the  S.  Frieze.  Photo.,  Alinari, 

17004a 144 

94.  Impruneta.  Cappella  della  Croce.  Photo.,  Burton  & Co. . . 145 

95.  Impruneta.  Christ  on  the  Cross.  Photo.,  Brogi,  9891 ....  146 

96.  Impruneta.  Tabernacle  of  the  Holy  Cross.  Photo.,  Ali- 

nari, 17007 148 

97.  Impruneta.  Predella  of  Tabernacle  of  Holy  Cross. 

Photo.,  Alinari,  17008  150 

98.  Impruneta.  Predella  of  Tabernacle  of  Holy  Cross. 

Photo.,  Alinari,  17009 151 

99.  The  Genoese  Madonna.  Vienna,  Benda  Collection. 

Photo.,  Alinari,  15001 152 


XX 


ILLUSTRATIONS 


PAGE 

100.  The  Genoese  Madonna.  Berlin,  Eduard  Simon  Collec- 

tion. Photo.,  private  154 

101.  The  Genoese  Madonna.  Berlin  Museum.  Photo.,  Berlin 

Museum  155 

102.  The  Genoese  Madonna.  Museo  Nazionale.  Photo.,  Ali- 

nari,  3717 156 

103.  The  Madonna  of  the  Niche.  New  York,  Bliss  Collection. 

Photo.,  G.  C.  Cox 157 

104.  Madonna  of  the  Niche.  Boston,  Shaw  Collection. 

Photo.,  private 159 

105.  Friedrichstein  Madonna.  Berlin  Museum.  Photo.,  Ber- 

lin Museum  160 

106.  Stemma  of  Jacopo  dei  Pazzi.  Florence,  Pal.  Serristori. 

Photo.,  Brogi,  13279  162 

107.  Stemma  of  Maddalena  dei  Serristori.  Florence,  Pal. 

Serristori.  Photo.,  Brogi,  13278 163 

108.  The  Heilbronner  Faith.  Paris,  Gal.  F[eilbronner. 

Photo.,  Heilbronner  165 

109.  The  Heilbronner  Prudence.  Paris,  Gal.  Heilbronner. 

Photo.,  Heilbronner  166 

no.  The  Cluny  Temperance.  Paris,  Musee  de  Cluny.  Photo., 

Alinari,  25224 168 

hi.  The  Cluny  Justice.  Paris,  Musee  de  Cluny.  Photo., 

Alinari,  25223 169 

1 12.  Foulc  Adoration.  Paris,  Collection  Foulc.  Photo.,  A.  M.  170 

1 13.  The  Ceiling  of  the  Portogallo  Chapel.  Florence,  S. 

Miniato.  Photo.,  Brogi,  5390  176 

1 14.  The  Portogallo  Holy  Spirit.  Florence,  S.  Miniato. 

Photo.,  Burton  & Co 177 

1 15.  The  Portogallo  Prudence.  Florence,  S.  Miniato.  Photo., 

Alinari,  3378  178 

1 1 6.  The  Portogallo  Justice.  Florence,  S.  Miniato.  Photo., 

Alinari,  3379 178 

1 17.  The  Portogallo  Fortitude.  Florence,  S.  Miniato.  Photo., 

Alinari,  3381  179 


ILLUSTRATIONS  xxi 

PAGE 

118.  The  Portogallo  Temperance.  Florence,  S.  Miniato. 

Photo.,  Alinari,  3380 180 

1 19.  Stemma  of  the  Mercanzia.  Florence,  Or  San  Michele. 

Photo.,  Alinari,  3443  1 8 1 

120.  The  Bronze  Doors.  Florence,  Duomo,  N.  Sacristy.  Photo., 

Alinari,  1980 185 

12 1.  The  Bronze  Doors.  Florence,  Duomo,  N.  Sacristy.  Orna- 

mental Detail 186 

1 22.  The  Bronze  Doors.  Detail.  The  Madonna.  Photo.,  Ali- 

nari, 3510 189 

123.  The  Bronze  Doors.  Detail.  S.  Giovanni  Battista.  Photo., 

Alinari,  3511  190 

124.  The  Bronze  Doors.  Detail.  S.  Giovanni  Evangelista. 

Photo.,  Alinari,  3513  191 

125.  The  Bronze  Doors.  Detail.  S.  Matteo.  Photo.,  Alinari, 

3512  I91 

126.  The  Bronze  Doors.  Detail.  S.  Luca.  Photo.,  Alinari,  3514  192 

127.  The  Bronze  Doors.  Detail.  S.  Marco  Photo.,  Alinari, 

35 1 5 193 

128.  The  Bronze  Doors.  Detail.  S.  Ambrogio  Photo.,  Alinari, 

35 1 6 193 

129.  The  Bronze  Doors.  Detail.  S.  Girolamo.  Photo.,  Alinari, 

35 1 7 194 

130.  The  Bronze  Doors.  Detail.  S.  Gregorio.  Photo.,  Alinari, 

3518  195 

13 1.  The  Bronze  Doors.  Detail.  S.  Agostino.  Photo.,  Alinari, 

35 1 9 195 

132.  Incredulity  of  S.  Tommaso.  Berlin,  A.  von  Beckerath 

Collection.  Photo.,  Bardini 201 

133.  Stemma  of  Rene  d’Anjou.  London,  Victoria  and  Albert 

Museum.  Photo.,  Museum 203 

134.  Medallion  Bust  of  a Youth.  Berlin  Museum.  Photo., 

Berlin  Museum  20^ 

T35-  Ceiling  of  Cupola,  Pazzi  Chapel  Porch.  Photo.,  Brogi, 

9615  206 

136.  Ceiling  of  Cupola,  Pazzi  Chapel  Porch.  Detail.  Photo., 

Burton  & Co 207 


ILLUSTRATIONS 


xxii 

137- 

:38. 

J39- 

140. 

141. 

142. 
143- 
144. 

T45- 

146. 

147- 

148. 

149. 

150. 
I51- 

LS2- 
:53- 
1 54- 


page 

The  Pescia  Altarpiece.  Pescia,  Pal.  Episcopale.  Photo., 

Burton  & Co 212 

Ceiling  of  Chapel  at  S.  Giobbe,  Venice.  Photo.,  Alinari, 

1-2430  214 

Ceiling  of  Chapel  at  S.  Giobbe,  Venice.  God  the  Father. 

Photo.,  Burton  & Co 215 

Ceiling  of  Chapel  at  S.  Giobbe,  Venice.  S.  Giovanni. 

Photo.,  Burton  & Co 216 

Ceiling  of  Chapel  of  S.  Giobbe,  Venice.  S.  Luca. 

Photo.,  Burton  & Co 217 

Ceiling  of  Chapel  at  S.  Giobbe,  Venice.  S.  Matteo. 

Photo.,  Burton  & Co 218 

Ceiling  of  Chapel  at  S.  Giobbe,  Venice.  S.  Marco. 

Photo.,  Burton  & Co 219 

The  Krefeld  Adoration.  Krefeld,  Museum.  Photo., 

private  220 

The  Kahn  Nativity.  New  York,  Otto  H.  Kahn  Collec- 
tion. Photo.,  private 221 

The  Trumpeters.  Stucco  in  London,  Victoria  and  Albert 

Museum.  Photo.,  private 225 

The  Copenhagen  Madonna.  Copenhagen,  Statens  Mu- 
seum. Photo.,  Museum 227 

The  Alessandri  Madonna.  Berlin  Museum.  Photo., 

Museum  228 

The  Madonna  and  six  Angels.  Paris,  Louvre.  Photo., 

Alinari,  22375  229 

Bust  of  a Boy.  Florence,  Museo  Nazionale.  Photo., 

Brogi,  9467 232 

Ginori  Coat  of  Arms.  Thomas  F.  Ryan  Collection. 

Photo.,  private 233 

Medallion  Head  of  a Lady.  Florence,  Museo  Nazionale. 

Photo.,  Brogi,  9468  234 

Medallion  Head  of  a Lady.  Paris,  Louvre.  Photo., 

Giraudon  235 

Madonna  of  the  Impruneta  Type,  von  Dirksen  Collec- 
tion. Photo.,  private 236 


i55- 

156. 

157- 

:58- 

:59- 

160. 

161. 

162. 

163. 

164. 

165. 

166. 

167. 

168. 

169. 

170. 

171. 

172. 
I73- 


ILLUSTRATIONS 


xxiii 


PAGE 

Madonna  of  the  Impruneta  Type.  Louvre.  Photo.,  Ali- 


nari,  22377 237 

Madonna  of  the  Impruneta  Type.  Berlin  Museum. 

Photo.,  private 238 

Madonna  of  the  Impruneta  Type.  Gallicano.  Photo., 

private  239 

The  Corsini  Madonna.  Palazzo  Corsini.  Photo.,  Bur- 
ton & Co 240 

Madonna  of  the  Corsini  Type.  Bardini's.  Photo.,  private  240 
Madonna  of  the  Corsini  Type.  S.  Maria  Nuova.  Photo., 

Burton  & Co 241 

Madonna  of  the  Corsini  Type.  Duveen  Bros.  Photo., 

private  242 

Madonna  and  standing  Child.  Berlin  Museum.  Photo., 

private  243 

Madonna  Holding  nude  Child.  Bardini’s.  Photo.,  private  244 

Stemma  of  the  Stufa  family.  Florence,  Palazzo  Stufa. 

Photo.,  private 244 

Stemma  of  Ruberto  Leoni.  S.  Giovanni  Valdarno. 

Photo.,  Alinari,  9845  245 

Stemma  of  Giovanni  di  Francesco  Tornabuoni.  S.  Gio- 
vanni Valdarno.  Photo.,  Alinari,  9846 247 

Stemma  of  the  Martelli  Family.  Ryks  Museum,  Am- 
sterdam. Photo.,  Museum 248 

S.  Girolamo  Reading.  Victoria  and  Albert  Museum. 

Photo.,  private 249 

Lunette  of  God  the  Father  between  two  Angels.  Opera 

del  Duomo.  Photo.,  Brogi,  9690 2^0 

Medallion  of  S.  Giovanni  Evangelista.  Pazzi  Chapel. 

Photo.,  Alinari,  2187 2^3 

Medallion  of  S.  Marco.  Pazzi  Chapel.  Photo.,  Alinari, 

2186  . . . 254 


Medallion  of  S.  Matteo.  Pazzi  Chapel.  Photo.,  Alinari, 


2189  

Medallion  of  S.  Luca.  Pazzi  Chapel.  Photo.,  Alinari, 


2188 


256 


XXIV 


ILLUSTRATIONS 


PAGE 

174.  The  Fortnum  Medallion.  Oxford,  Ashmolean  Museum. 

Photo.,  C.  T.  Thompson 257 

175.  Inscription  from  the  Fortnum  Medallion.  From  a cast..  . 258 

176.  Replica  of  the  Fortnum  Medallion,  von  Bulow  Collec- 

tion, Berlin.  Photo.,  private 259 

177.  The  Rovezzano  Madonna.  Rovezzano,  S.  Andrea.  Photo., 

Burton  & Co 261 

178.  Madonna  of  the  Rovezzano  type.  Liechtenstein  Collec- 

tion. Photo.,  private 262 

179.  Madonna  of  the  Rovezzano  type.  From  a cast.  Photo., 

Alinari,  19300 263 

180.  Madonna  of  the  Rovezzano  type.  Eduard  Simon  Collec- 

tion. Photo.,  private 264 

181.  Madonna  of  the  Rovezzano  type.  Mrs.  Q.  A.  Shaw  Col- 

lection. Photo.,  private 265 

182.  The  Shaw  Nativity.  Boston  Museum.  Photo.,  Baldwin 

Coolidge 268 

183.  The  Madonna  adoring  the  Child.  Florence,  Museo 

Nazionale.  Photo.,  Brogi,  12696 270 

184.  The  Madonna  adoring  the  Child.  Florence,  Museo 

Nazionale.  Photo.,  Brogi,  9487 271 

185.  The  Madonna  adoring  the  Child.  Genoa,  Palazzo 

Bianco.  Photo.,  Alinari,  14953 272 

186.  Fragment  with  two  adoring  Angels.  Berlin,  von  Beck- 

erath  Collection.  Photo.,  private 273 


INTRODUCTION 


In  the  year  1427  a law  was  passed  requiring  every  Florentine  citizen 
to  make  a declaration  of  his  property  as  a basis  for  levying  an  income  tax. 
It  is  from  these  declarations,  preserved  in  the  archives  of  Florence,  that 
we  gather  the  few  facts  that  are  known  concerning  the  family  life  of 
Luca  della  Robbia.  They  preserve  not  merely  a record  of  the  property  of 
each  householder,  but  also  give  the  names  and  ages  of  each  member  of  the 
family.  Thus  from  the  declaration  of  Luca’s  father,  Simone  di  Marco 
della  Robbia,  we  learn  that  his  family  in  the  year  of  1427  consisted  of 
Simone  himself,  aged  84;  his  wife  Margherita,  64;  Marco  di  Simone,  42; 
Ser  Giovanni  di  Simone,  33  ; his  wife  Papera,  26,  and  their  infant  daughter 
Polissena;  and  Luca  di  Simone,  27.  From  this  and  other  records  we 
make  the  following  table  : 

Simon  di  Marco,  b.  1343 
m.  Margherita,  b.  1363 

! 

i . I 

Marco,  b.  1385  Ser  Giovanni,  b.  1394 

m.  Papera,  b.  1401 

Polissena,  b.  1427 

Simone  and  Margherita  may  have  had  other  children  (Milanesi  enters  on 
their  genealogical  tree  the  name  of  another  son  Domenico),  but  they 
could  hardly  have  been  living  in  1427,  as  Simone's  property  remained  for 
some  four  years  undivided,  and  their  names  are  not  mentioned  in  the  tax 
returns. 

It  seems  likely  that  Simone  had  been  a farmer  and  once  lived  upon 
his  pod crc  in  the  village  of  S.  Maria  in  Tartagliese,  on  the  road  to  Arezzo 
between  S.  Giovanni  in  Valdarno  and  Figlini.  This  farm  appears  not  only 
in  Simone's  declaration  of  1427,  but  also  in  Luca’s  declarations  of  1451  and 
and  1457.  Besides  the  farm  buildings  it  comprised  nineteen  pieces  of  land, 
which,  however,  returned  only  sixty  bushels  of  grain  and  ten  of  barley. 
Simone,  perhaps  when  he  married,  or  perhaps  later,  moved  to  Florence 
and  lived  in  a rented  house  in  the  Aha  Sangiglio  (S.  Egidio).  This  was 


Luca,  b.  1399-1400 


XXVI 


INTRODUCTION 


in  the  district  of  S.  Piero  Maggiore,  for  whose  church  Luca  designed  his 
most  beautiful  Madonna,  and  where  he  was  buried.  Simone  also  owned, 
in  the  immediate  vicinity  of  Florence,  at  S.  Tommaso  a Baroncelli,  a podere, 
with  villa,  farm  house,  and  lands  producing  olives,  grapes,  and  fruit 
trees.  Here  possibly  Luca  and  Andrea  learned  to  be  close  observers  of 
fruit,  which  they  introduced  so  frequently  in  their  works  of  art.  Soon 
after  1427  the  aged  Simone  died.  In  1429  his  death  was  followed  by 
that  of  Ser  Giovanni,  the  promising  young  notary  and  councillor  of 
the  Signoria,  whose  wife  Papera  and  daughter  Polissena  could  not 
have  long  survived.  Ser  Giovanni’s  share  in  the  inheritance  passed  to 
Marco. 

Marco  married  about  1434  and  had  five  children,  whose  names  and 
ages  in  1457  are  thus  given.  Andrea  was  22;  Simone,  20;  Paolo,  17; 
Francesco,  14;  and  Margherita,  13.  From  which  we  have  the  following 
table : 

Marco  di  Simone,  b.  1385 
m.  before  1435 
d.  between  1446-1451 

I 

1 I I I I 

Andrea,  b.  1435  Simone,  b.  1437  Paolo,  b.  1440  Francesco,  b.  1443  Margherita,  b.  1444 

The  house  on  the  Via  S.  Egidio  was  doubtless  too  small  for  this  increasing 
family,  so  on  August  31,  *1446,  Marco  and  Luca  purchased  a house  on 
the  corner  of  the  Via  Guelfa  and  of  the  present  Via  Nazionale  from  Lippo 
di  Biagio  da  Portolo  for  220  florins.  This  house  was  near  the  church  of 
S.  Barnaba,  but  could  hardly  have  been,  as  Vasari  states,  the  home  of  Luca's 
ancestors  or  the  house  in  which  he  was  born.  In  1451  besides  the  half 
interest  in  this  house  Luca  declared  his  ownership  of  a third  interest  in 
the  farm  at  S.  Maria  in  Tartagliese.  The  farm  at  S.  Tommaso  a Baroncelli 
is  no  longer  mentioned,  but  Carocci  ( Dintorni , II,  86-87)  tells  us  that 
Luca  had  a half  interest  in  it  until  his  death,  when  it  passed  into  the  hands 
of  Marco  di  Domenico  Mellini,  who  in  i486  purchased  the  remaining 
half  from  Andrea  della  Robbia.  This  villa  is  now  known  as  the  Poggio 
Baronti  or  Villa  Candrion.  At  some  time  between  1446  and  1451  Marco 
died.  In  1457  Luca,  who  never  married,  lived  with  this  three  nephews  and 
two  nieces  in  the  house  in  the  Via  Guelfa.  By  this  time  he  had  accumulated 
1203  florins,  6 soldi,  9 denari,  deposited  in  the  bank  in  the  quartiere 
S.  Giovanni. 


INTRODUCTION 


XXVll 


Andrea,  who  at  an  early  age  became  associated  with  his  uncle  in  his 
work,  in  1465  married  Giovanna,  daughter  of  Piero  di  Ser  Lorenzo  di 
Paolo,  from  whom  he  received  a dowry  of  266  florins.  By  1470  Andrea 
and  Giovanna  had  three  sons,  Antonio,  b.  1467;  Marco,  b.  1468;  and 
Giovanni,  b.  1469,  all  living  with  their  uncle  in  the  house  in  the  Via  Guelfa. 
Four  more  sons  soon  followed:  Paolo,  in  1470;  Luca,  in  1475  ; Francesco, 

in ; and  Girolamo,  in  1488.  Though  rich  in  sons,  Andrea  claimed  in 

1470  that  he  had  little  to  declare  which  was  not  counterbalanced  by  his 
indebtedness  to  Luca,  but  in  1471  Luca  considered  him  exceedingly 
prosperous. 

Luca's  will,  dated  February  19,  1471  (Old  Style,  147°)  shows  his 
gratitude  to  his  principal  patron.  He  leaves  nine  florins  to  the  Opera  del 
Duomo  and  nine  to  the  Fabbrica  del  Duomo ; to  Andrea,  the  good  will  and 
bills  payable  of  his  business;  to  Paolo  and  Margherita  nothing  (they  were 
probably  dead)  ; to  Francesco,  now  a widow,  100  florins;  and  the  residue 
of  his  property  to  Simone. 

Luca’s  best  efforts  were  given  to  his  profession,  but  he  was  not  without 
honours.  He  served  on  the  Commission  which  allotted  to  Ghiberti  the 
Cassa  di  S.  Zanobi.  In  the  Guild  of  Physicians  and  Apothecaries,  of  which 
he  was  a member,  he  was  several  times  Consul,  thirty  times  a member  of  the 
Council,  three  times  a Syndic,  and  twice  Treasurer.  He  also  devoted  much 
time  to  religious  and  philanthropic  work,  as  he  was  an  active  member  of 
the  Compagnia  della  Misericordia  from  1435  to  1449.  In  1471  he  was 
elected  Consul  of  the  Guild  of  Stone  Masons  and  Woodcarvers,  but  on 
account  of  his  advancing  years  and  infirmities  declined  the  honour.  In 
1482  he  died  and  was  buried  in  the  Church  of  S.  Piero  Maggiore. 

What  the  influences  were  which  turned  Luca’s  attention  to  sculpture, 
or  who  were  his  earliest  masters  we  can  only  guess.  Vasari  states  that  his 
father,  after  having  given  him  at  home  an  elementary  education,  set  him  to 
learn  the  goldsmith’s  art  under  Leonardo  di  Ser  Giovanni,  who  taught 
him  drawing,  modelling  in  wax,  carving  in  marble,  and  bronze  casting. 
But  the  silver  altars  made  in  part  by  Leonardo  di  Ser  Giovanni  for  the 
Cathedrals  of  Florence  and  of  Pistoia  between  the  years  1355  and  1371 
have  little  in  common  with  the  documented  early  works  of  Luca  della 
Robbia,  and  it  is  improbable  that  Leonardo  was  still  alive  and  teaching  in 
the  early  years  of  the  fifteenth  century.  Pomponius  Gauricus  calls  Luca 


INTRODUCTION 


xxviii 

della  Robbia  “florentinus  ex  aurifice  plastes,”  but  this  statement  was  doubt- 
less based  on  Vasari.  It  is  possible  that  Luca  received  his  early  training  in 
a goldsmith’s  atelier,  but  we  have  no  certain  proof  of  it.  The  two 
silver  statuettes  of  S.  Giovanni  Battista  and  S.  Francesco  in  the  Museo 
Civico  at  Citta  di  Castello  attributed  to  him  by  Schmarsow  are  by  Venturi 
more  properly  assigned  to  Ghiberti.  Antonio  Billi,  the  Anonimo  Maglia- 
becchiano,  and  Vasari  all  speak  of  Luca  as  scultore,  and  in  the  tax  declara- 
tions, and  other  documents,  he  is  called  scarpcllatorc , and  maestro  d'intagli 
or  intagliatore.  As  an  artist  who  worked  in  stone,  marble,  bronze,  and 
terra-cotta  he  was  enrolled  in  the  Guild  of  the  Doctors  and  Apothecaries  and 
in  that  of  the  Stone  Masons  and  Woodcarvers;  he  was  not  enrolled  in 
the  Guild  of  the  Silk  Merchants  which  included  the  goldsmiths.  It  is  as  a 
marble  sculptor  that  Luca  is  first  made  known  to  us  through  documents, 
and  it  is  to  the  marble  reliefs  of  the  Cantoria  (1431-1438),  the  Campanile 
(1437-1439),  and  the  altar  of  S.  Peter  (1438)  that  we  must  turn  for 
evidences  of  his  early  training. 

Some  writers  have  pointed  to  the  dancing  putti  of  the  Cantoria,  to 
the  spirited  discussion  of  the  Philosophers  on  the  Campanile,  and  to  the 
receding  planes  of  the  relief  of  S.  Peter  released  from  prison  as  evidence 
of  Donatello’s  influence  over  the  youthful  Luca.  But  Luca’s  Cantoria  reliefs 
were  begun  several  years  before  Donatello’s  dancing  children  at  Prato  and 
at  Florence;  the  motive  of  the  dance  was  furnished  to  Luca  by  the  150th 
Psalm,  and  his  serious  spirit  is  in  the  strongest  possible  contrast  to  Dona- 
tello’s religious  indifference.  Luca’s  Philosophers  of  the  Campanile  also 
antedate  Donatello’s  disputants  on  the  bronze  sacristy  doors  of  S.  Lorenzo. 
The  relief  of  the  S.  Peter  altar  does  exhibit  Donatello’s  preference  for 
receding  planes,  and  was  probably  designed  in  consultation  with  Donatello, 
who  was  commissioned  to  make  an  altar  of  like  character  for  an  adjoining 
chapel.  Receding  planes  had,  however,  no  permanent  attraction  for  Luca 
and  do  not  occur  in  his  subsequent  work.  It  is  probable  that  these  com- 
missions for  the  Cathedral  came  to  Luca  through  the  influence  of  Brunel- 
leschi rather  than  Donatello.  Brunelleschi  also  without  doubt  selected  him 
to  decorate  the  Pazzi  Chapel,  and  Michelozzo,  the  pupil  of  Brunelleschi, 
chose  him  as  an  associate  in  several  important  works.  But  Brunelleschi's 
direct  influence  could  hardly  have  extended  much  beyond  architectural 
details. 


INTRODUCTION 


XXIX 


The  strictly  sculptural  portions  of  Luca’s  works  show  a dependence  on 
Lorenzo  Ghiberti.  Subjects  like  his  Evangelists  and  Church  Fathers,  com- 
positions like  his  Resurrection,  the  types  of  his  angels  and  the  clouds  on 
which  they  rest,  the  lines  of  his  draperies,  his  garland  frames  with  their 
branches  of  flowers  and  fruit  all  have  much  in  common  with  Ghiberti’s. 
He  never  followed  him  into  the  complete  development  of  pictorial  relief,  but 
remained  satisfied  with  the  simpler  and  more  truly  sculptural  types  of 
beauty  created  by  Andrea  Pisano  and  his  school. 

Luca's  chief  patron  was  the  Opera  del  Duomo,  by  whom  he  was  em- 
ployed for  many  years.  He  also  worked  for  other  churches : for  S.  Piero 
Maggiore  and  S.  Pierino,  Florence ; for  S.  Giovanni  fuorcivitas,  Pistoia ; 
for  S.  Jacopo  near  Pescia ; and  for  S.  Domenico,  Urbino.  He  was  employed 
by  the  principal  guilds : the  Mercanzia,  the  Silk  Merchants,  the  Physicians 
and  Apothecaries,  the  Stone  Masons  and  YVoodcarvers ; and  by  various 
hospitals.  Representatives  of  the  principal  families  of  Florence  appreciated 
his  work,  among  whom  were  Cosimo  and  Piero  dei  Medici,  Andrea  and 
Jacopo  dei  Pazzi,  the  Buondelmonti,  and  the  Capponi.  In  honour  of  a 
Cardinal  he  decorated  a chapel  and  for  a Bishop  he  made  a noteworthy 
tomb. 

His  works  were  varied  in  character,  comprising  a choir  gallery,  bronze 
doors,  lunettes,  ceilings,  pavements,  decorative  and  commemorative  medal- 
lions, altarpieces,  shrines,  statues,  groups,  and  a sculptural  monument.  They 
were  executed  in  marble,  bronze,  or  terra-cotta.  He  was  in  thorough  sym- 
pathy with  the  best  architects,  especially  with  Brunelleschi  and  Michelozzo ; 
his  mouldings  deserve  careful  study.  On  the  other  hand  his  reliefs  exhibit 
little  interest  in  the  problems  of  perspective  and  anatomy,  which  attracted 
so  much  attention  in  his  day.  Even  as  a composer  we  shall  have  frequent 
occasion  to  marvel  at  his  indifference.  He  seldom  thinks  of  the  inter- 
relation of  one  relief  with  another,  his  mind  being  content  to  do  each 
separate  task  to  the  best  of  his  ability.  He  does  not,  like  Ghiberti,  crowd 
as  many  figures  as  possible  into  a single  picture,  nor  like  Donatello  suggest 
the  indefinite  expansion  of  space.  He  is  content  with  few  figures,  simple 
themes,  restricted  space.  Composition  was  reduced  to  an  almost  classic 
symmetry  and  balance.  His  strength  lay  in  his  love  of  nature  and  in  his 
religious  reverence.  In  his  garlands  we  see  his  fondness  for  wild 
roses  and  lilies  and  for  all  manner  of  fruit.  He  has  less  interest  in  animals, 


XXX 


INTRODUCTION 


but  men,  women,  and  children  rivet  his  attention.  His  Apostles,  Evangelists, 
and  Fathers  of  the  Church  are  carefully  individualized;  his  Madonnas, 
now  timid,  now  haughty,  now  sad,  show  a deep  reverence  for  woman;  and 
his  children  are  naive  and  charming. 

Almost  the  only  innovation  which  may  be  credited  to  Luca  della  Robbia 
was  the  application  of  white  and  coloured  enamels  to  terra-cotta  figures 
and  reliefs.  The  glaze  can  hardly  have  been  a secret,  as  glazes  of  similar 
character  had  been  employed  by  Egyptians  and  Persians  in  ancient  times, 
and  to  a limited  degree  by  the  Greeks  and  Romans.  Throughout  the 
Middle  Ages  maiolica,  or  glazed  faience,  was  still  made  in  Italy,  and 
many  towns  began  to  be  celebrated  for  the  manufacture  of  maiolica  before 
Luca  was  born.  Vasari  informs  us  that  the  glaze  used  by  Luca  della 
Robbia  consisted  of  a mixture  of  tin,  litharge,  antimony  and  other  minerals 
and  mixtures.  A more  definite  account  of  the  materials  used  by  potters  in 
producing  glazes  is  given  in  a manuscript  of  the  fifteenth  century  published 
by  Mrs.  Merrifield,  Original  Treatises  on  the  Arts  of  Painting,  II,  536-545. 
An  accurate  account  of  Robbia  glazes  would  imply  a chemical  analysis 
of  the  glazes  made  at  different  periods  during  the  existence  of  the  Robbia 
school.  This  has  not  yet  been  systematically  attempted.  The  Ginori 
establishment  of  Florence,  however,  made  at  La  Doccia  analyses  of  Robbia 
glazes  before  attempting  their  well  known  reproductions.  Miss  Cruttwell, 
Luca  and  Andrea  della  Robbia,  65-66,  gives  some  account  of  the  process 
used  by  them.  The  first  documented  use  of  glazed  terra-cotta  by  Luca 
della  Robbia  is  to  be  found  in  the  tabernacle  now  in  the  church  of  S.  Maria 
at  Peretola  (1442).  Here  it  occurs  in  three  forms:  (1)  as  a background 
for  marble  reliefs,  somewhat  like  the  blue  tiles  used  as  backgrounds  for 
the  sculptures  of  the  Campanile;  (2)  as  reliefs  applied  to  a marble  back- 
ground; and  (3)  as  a mosaic  combined  with  marble,  like  Cosmati  work. 
There  is  nothing  experimental  in  the  use  of  glazed  terra-cotta  in  this  monu- 
ment. The  glaze  is  hard  and  fine,  the  polychromy  successful,  and  the  various 
combinations  of  marble  and  terra-cotta  thoroughly  understood.  Long  be- 
fore this  Luca  must  have  made  his  experiments,  and  scored  his  successes 
and  his  failures.  I am  inclined  to  think  that  the  mirror  frame  in  the 
Figdor  Collection,  Vienna,  and  the  group  of  the  Visitation  in  the  Church  of 
S.  Giovanni  fuorcivitas,  Pistoia,  were  made  by  Luca  della  Robbia  in  the 
early  thirties.  Both  are  artistically  charming  works,  but  covered  with 


INTRODUCTION 


XXXI 


heavy  and  insufficiently  fused  glazes.  So  manifest  is  the  coarseness  of 
this  glaze  that  both  monuments  are  sometimes  described  as  school  work 
of  a later  period.  But  later  glazes  were  thin,  often  thin  enough  to  flake 
or  be  rubbed  away,  whereas  these  are  like  early  Japanese  glazes,  thick  and 
heavy,  manifestly  early  experiments  before  the  discovery  of  more 
economical  methods. 

Glazed  terra-cotta  was  used  by  Luca  della  Robbia  as  a substitute  for 
marble.  Hence  his  figures  were  chiefly  white ; but  inasmuch  as  marble 
sculpture  in  his  day  was  superficially  painted,  it  is  natural  that  Luca  should 
have  attempted  coloured  glazes  at  an  early  date.  In  fact  Luca’s  earliest 
documented  glazes,  those  of  1442,  1443  and  1446  included  blue,  violet, 
green,  and  brown  as  well  as  white.  He  continued  to  use  gold  superficially 
for  a long  time  for  aureoles,  nimbuses,  borders  of  garments,  and  for  the 
hair.  When,  as  in  the  Madonna  of  Or  S.  Michele,  he  used  a yellow  glaze 
for  the  hair  this  was  probably  as  a more  permanent  substitute  for  the  less 
durable  gilding.  In  his  terra-cotta  mosaics  he  sometimes  applied  a thin 
transparent  glaze  over  gold  leaf  or  gold  paint  so  as  to  produce  an  effect 
similar  to  that  of  Byzantine  gold  mosaics. 

Luca's  colour  sense  was  remarkably  fine  when  compared  with  that  of 
other  members  of  the  school.  A red  glaze  has  ever  been  the  despair  of 
the  potter.  It  mattered  little  that  Luca  and  his  family  bore  the  name 
of  Robbia,  which  means  red  madder.  Whenever  they  wished  to  produce  a 
red  glaze  they  had  to  be  satisfied  with  a very  inadequate  result,  varying  in 
shade  from  a red-violet,  to  a purple  or  plum,  or  even  brown.  Later  they 
gave  up  the  attempt,  and  preferred  a garish  red  applied  without  glazing. 
In  comparison  with  those  of  his  followers  Luca's  red-violets  have  a special 
charm.  Blues  also  interested  him.  His  dark  blues,  light  blues,  gray-blues, 
green-blues  offer  a pleasing  variety.  His  greens  were  either  dark  or  bright, 
and  sometimes,  for  the  sake  of  transparency,  streaked  with  yellow  or  brown. 
His  grays  and  browns  were  successful,  his  yellows  less  so.  In  indicating 
the  eyes  he  always  distinguishes  the  pupil  and  iris,  never  combining  them 
in  a single  black  mass.  The  iris  is  almost  invariably  gray-blue  for  the 
Madonna  and  for  the  Child,  but  yellow  for  Virtues  and  for  men.  The 
eyebrows  he  coloured  by  irregular  dots  or  hatchings  of  violet  or  dark  blue. 
Of  the  same  colour  are  the  eyelashes,  the  iris  boundary  and  the  pupil. 


XXX11 


INTRODUCTION 


Andrea’s  and  Giovanni's  method  of  colouring  the  eyes  are  quite  different 
and  readily  to  be  distinguished. 

In  spirit  Luca  was  simple  and  direct,  loyal  to  his  family,  his  employers 
and  to  his  city.  His  productions  were  eminently  appropriate  to  their  pur- 
pose. His  sense  of  beauty  was  based  on  nature,  but  not  carried  to  realistic 
extremes.  Although  endowed  with  a profound  reverence  for  woman  and 
a keen  delight  in  children,  he  never  married.  For  a few  years  he  essayed 
the  life  of  a monk,  but  gave  it  up  to  make  a home  for  his  nephews  and 
nieces.  At  the  time  of  his  death,  in  1482,  his  nephew  Andrea  della  Robbia 
had  already  done  much  to  transform  the  art  of  glazing  terra-cotta  sculpture 
into  a great  ceramic  industry. 


DOCUMENTS 

[Documents  Nos.  1,  4-1 1,  published  by  Cruttwell,  285-286,  300- 
306,  have  been  revised  by  Signorina  Levi.  Nos.  2 and  3 are  here 
published  for  the  first  time.] 

1.  Port  at  a al  Catasto.  1427.  A di  10  di  luglio. 

“Questa  e la  rechata  di  Simone  di  Marco  della  robbia  e de  figluoli 
prestanziati  in  decto  gonfalone  in  fiorini  quattro  soldi  quattordici  et 
denari  cinque  a oro.  F.  4 s.  14  d.  5. 

“In  prima  una  chasa  dallavoratore  con  palchi  sala  camera  e terreno  posta 
nel  popolo  di  santa  maria  dal  tartigliese  in  valdarno  di  sopra  contado 
di  hrenze  nel  borgho  del  tartigliese  nella  strada  publica  confinata  da  1 0 
decta  strada,  a 2 0 via,  a 3 0 nicholo  di  giovanni  del  bellaccio,  a 4 0 
marcho  del  bello  del  bellaccio. 


“Item  uno  podere  con  chasa  da  signore  e dallavoratore  con  terre  lavoratie 
nlivate,  arboriate,  vignate,  e con  pergole  e con  alberi  fructiferi  e non 
fructiferi,  posto  nel  contado  di  firenze  nel  popolo  di  Santomme  (San 
Tommaso)  a Baroncelli  loco  decto  a baroncelli,  confinato  a 1 0 l’erede 
di  Francescho  di  Duccio  Mellini,  via  in  mezzo,  a 2 0 filippo  di  Simone 
e il  fratello,  fossatello  in  mezzo,  a 3 ° maso  davizi,  a 4 0 via. 


Simone  di  marcho  sopradecto  deta  d’anni 84 

M"  margherita  dona  dello  decto  Simone  d’anni 64 

Marcho  di  Simone  d’anni 42 

Ser  Giovanni  di  Simone  d’anni 33 

Lucha  di  Simone  d’anni 27 

Ma  Papera  donna  del  decto  Ser  Giovanni  d’anni 26 


Pulisena  figluola  di  Ser  Giovanni  nacque  a di  primo  di  Settem- 
bre,  1427.” 


INTRODUCTION 


xxxiii 


“Abbiamo  a pigione  una  chasa  con  sale,  palchi,  camere,  terreno,  corte  e 
pozzo  nella  quale  noi  abitiamo,  dentrovi  nostre  masseritie  posta  nel 
popolo  di  S.  piero  maggiore  nella  via  di  sangilio  (S.  Egidio)  confinata 
a i ° via  decta,  a 2 0 Christofano  di  Salvi,  a 3 " Simone  di  Salvi,  a 
40  l'erede  di  Giovanni  di  Salvi. 


Archivio  di  Stato  di  Firenze.  Ouartiere  Sancti  Giovanni-Chiavi 
No.  59.  Anno  1427,  c.  974-976. 

Portata  al  Catasto.  144 2.  “Dinanzi  davoi  signiori  uficiali  della  chon- 
servazione  e aumentazione  della  nuova  graveza  della  citta  di  Firenze 
si  raporta  le  sustanze  e benni  di  lucha  di  Simone  di  marcho  della  Robia 
a prestanziato  nella  presente  istribuzione  della  cinquina  nel  chonfalone 
delle  chiavi  soldi  19  den.  1.  oro. 

In  prima  la  terza  parte  ]>er  non  diviso  chom  marcho  e ser  Giovanni 
mie  frategli  di  tre  chase  poste  nel  borcho  e nel  popolo  di  Santa  Maria 
al  tortigliese  in  Valdarno  di  sopra  ebon  pin  e pin  pezi  di  tera  e pin 
chonfini  chom  apare  nella  scrita  del  primo  ebatasto  cbe  dicieva  in 
Simone  di  Marcho  mio  padre,  lavoralo  a mezo  Piero  di  Lucha,  rende 


in  parte. 

Grano  istaia  sesanta ist.  60 

Vino  barili  dieci bar.  10 

Orzo  istaia  dieci st.  10 

Saggina  istaia  dodici ist.  12 

Miglo  istaia  cinque ist.  5 

Panicho  istaia  sei ist.  6 

Charne  libre  dugentocinquanta lib.  250 

Lini  libre  dodici lib.  12 

Chaponi  paia  due bib  (sic)  2 

Uova  serque  dieci serque  10 


E di  tutta  questa  rendita  mi  toclia  il  terzo  j/3- 

La  terza  parte  parte  di  una  chasetta  posta  nel  popolo  di  san 
Piero  magiore  nella  via  deglialberti  nelli  tiella  a pigione  Michele 
Zoppo  chalzolaro  e danno  lanno  di  pigione  fiorini  tre  doro  tochamene 
fiorini  uno  d’oro  lanno. 


Danari  di  monte 

La  terza  parte  di  fiorini  cinquantuno  di  monte  di  5 interi  ischritti 
in  Simone  di  Marcho  mio  padre  assine  avere  le  paglie  di  magio 
passato  in  qua. 

La  terza  parte  di  fiorini  40  soldi  13  denari  8 a oro  di  prestanzoni 
d'otto  per  cento  cliolla  retenzione  di  Simo  (sic)  detto  ischritti. 

La  terza  parte  di  fiorini  117  di  monte  chomune  in  Simone  detto 
assine  avere  le  paghe  di  magio  pasato  in  qua. 

La  terza  parte  di  fiorini  25  soldi  13  denari  9 a oro  di  cinque 
achatti  di  fiorini  sesantamila  de  chontadini  iscritti  in  Simone  detto 
chome  veranno  le  tratte. 


XXXIV 


INTRODUCTION 


E piu  fiorini  iiij  doro  paghai  del  balzello  ischritti  in  Lucha  detto, 
quali  paghai  fuori  del  termine.  E piulla  Y$  parte  della  48  ventina. 

E piu  a fiorini  trecento  di  monte  di  prestanzone,  dotto  per  cento 
dicono  in  Lucha  proprio. 

E piu  fiorini  quatrocento  ventitre,  cioe  fiorini  423  di  monte 
chomune  che  dichono  in  Lucha  detto. 

Ed  io  Lucha  torno  in  chasa  cho  marcho  di  Simone  mio  fratello. 

Lucha  sopradetto  deta  danni  43. 

Archivio  di  Stato  di  Firenze.  Quartiere  S.  Giovanni,  Gonfalone 
delle  Chiavi,  filza  627,  c.  233. 


3.  Portata  al  Catasto,  1446.  “Lucha  di  Simone  di  Marcho  della  Robia  a 
di  dicina  (sic)  fior.  uno. 

E di  dispiaciente  fiorini  uno. 

E di  chatasto  1427  fior.  uno  per  chonpositione  dicco  a in  Simone 
di  Marcho  della  Robbia,  me  figluolo  fior.  uno. 

LTna  chasa  dallavoratore  posta  nel  popolo  di  santa  Maria  al  tarta- 
gliese  di  valdarno  di  sopra  nel  borgho  del  tartaglese  (sic)  chonfinata 
a 1 0 istrada  a 2"  via  a 30  Nicholo  diovanni  Bellacci  40  Marcho  del 
Bello  Bellacci. 

L!na  chasetta  posta  di  retro  a detta  chasa,  fassene  istalla  da 
bestie  in  detto  popolo  a 1 0 via,  a 2 0 Filippo  di  Firenze  del  Pomero, 
3 ° Nanni  e a 4 " rede  di  Piero  Toci. 

E uno  pezzo  di  terra  chon  dette  chase  el  primo  confina  a via  e 
2 0 Marcho  del  Bello  Belacci  e 3 0 Filippo  del  Pomero  4 " loro  medesimi, 
l’utimo  chonfina  a 1 via  ea20ea3°ea4°  Piero  di  Biagio  del 
Tartagliese  chome  appare  pella  ischritta  suo  lavoratore  Marcho  di 
Berto  del  Tartigliese. 

Rende  l’anno  in  parte 


Grano  . 

Orzo 

Saggina 

Miglo 

Panicho 

Vino  . 

Lino  grosso 

Capponi 

Uova 

Carne 


staia 

staia 

staia 

staia 

staia 

barili 

fibre 

paia 

serque 

fibre 


60 

10 

12 

6 

6 

10 

10 

1 

5 

250 


Della  sopradetta  rendita  tocca  amme  la  terza  parte  perche  nostro 
padre  mori  ellascio  tre  figliuoli  e siano  divisi. 

El  sopradetto  podere  e oggi  in  buona  parte  nel  flume  d’Arno  ede 
istatato  (sic)  gia  e piu  tempo  el  perche  nel  1444  l’afittamo  a Piero  di 
Chimento  per  staia  60  di  grano  lanno  delle  quale  ne  toccha  in  mia 
parte  staia  20. 


INTRODUCTION 


XXXV 


Danari  di  monte 

Fiorini  910  o circha  di  monte  chomune  inmio  nome. 

Fiorini  103  o circha  di  monte  chomune  in  nome  di  Simone  di 
marcho  della  robbia  mio  padre. 

Boche 

Lucha  detto  danni  46. 

Archivio  di  Stato  di  Firenze.  Quartiere  S.  Giovanni-Chiavi,  filza 
681,  c.  403. 

4.  Portata  al  Catasto,  1451.  “Lucha  di  Simone  di  marcho  della  robbia 
intagliatore  disse  el  primo  chatasto  in  Simone  di  marcho  mio  padre — 

Ebbene  bor.  1,  bob  — — — 

Ebbi  di  decima  del  1447 fior.  1,  bob  13,  den.  10,  a oro. 

Fu  ridotto  per  gli  sgravi fior.  1 — — — 

Sustanze : 

Una  meza  chasa  per  non  divisa  cho  figluoli  di  marcho  della  robbia 
mie  nipoti  la  quale  tegnamo  per  nostro  abitare ; posta  nel  popolo  di  san 
lorenzo,  nel  chonfalone  del  lione  adoro,  nella  via  chuelfa  chonfinata  da 
primo,  via;  da  secondo,  mona  antonia,  donna  che  fu  di  cristofano  da 
Schopeto ; da  Ft  ser  antonio  da  quarto  prete,  da  Ft  chapitolo 
de  chanonici  di  Santa  maria  del  fiore  paghasene  a detti  cbanonici 
pellivello  lire  dieci,  bolognini  otto  l'anno ; detta  chasa  chomperamo  da 
lippo  di  biagio  da  peretola  a di  31  cbaghosto  1446,  per  pregio  di 
fiorini  dugento  venti : charta  per  mano  di  ser  Jachopo  daromena. 

Una  chasa  da  lavoratore  posta  nel  popolo  di  Santa  maria  a 
tartagliese  di  valdarno  di  sopra,  chonfinata  daprimo,  strada ; da  secon- 
do, via ; da  F3  nicholo  di  Giovanni  bellacci ; da  Ft  marcho  del  hello 
bellacci. 

Una  chasetta  posta  dietro  a detta  chasa,  chessene  faceva  stalla  e 
oggi  e rovinata. 

1 pezi  di  terra  chon  detta  chasa ; el  primo  chonfina  da  primo,  via ; 
da  secondo,  marcho  del  hello  bellacci ; da  F3  Filippo  delpomero ; da  Ft 
loro  medesimi : l'ultimo  chonfina  da  prima,  via;  da  secondo  Ft  Ft 
piero  di  biagio  da  tartagliese  lavoravali  nel  primo  chatasto  marcho 
di  berto  da  tartagliese ; rendevano  in  parte — 


Grano  staia  60 

Orzo  staia  10." 


Archivio  di  Stato  di  Firenze.  Quartiere  Santi  Giovanni.  Gon- 
falone  delle  Chiavi.  Fob  717,  c.  223. 

5.  Portata  al  Catasto , 1457-  “Lucha  di  Simone  di  marcho  della  robbia, 
primo  chatasto  disse  in  Simone  di  marcho,  mio  padre, 


ebbe  fior.  1 

di  val sente fior.  1,  b.  7,  d.  9 

di  cinquina b.  14 


XXXVI 


INTRODUCTION 


Sustanze : 

Una  meza  chasa  per  non  divisa  cho  figluoli  di  marcho  mio  fratello 
per  mio  abitare,  posta  nel  popolo  di  Sanlorenzo,  ghonfalone  di  lion 
doro  in  via  chuelfa,  chonfinata  da  i°  via,  da  2°  monantonia,  donna  fu 
di  Jachopo  da  Schopeto,  da  J<3  piero  sassetti,  da  ^4  el  chapitolo  di 
Santa  maria  del  fiore ; la  quale  chomperamo  marcho  di  Simone  mio 
fratello,  ed  io  Lucha,  da  lippo  di  biagio  da  peretola  adi  31  dagosto 
1446  per  pregio  di  fior.  220,  charta  per  mano  di  ser  Jachopo  da  romena ; 
pagasene  l’anno  d’avillare  a chapitolo  di  Santa  maria  del  fiore,  lir. 
10,  s.  8. 

La  terza  parte  d’un  podere  posto  nel  popolo  di  Santa  maria  al 
Tartagliese  di  Valdarno  di  sopra,  etc.  sicche  di  detta  rendita  mi  toccha 
la  J3  parte,  e a figluoli  di  Marcho  di  Simone,  mio  fratello,  e rede 
di  ser  Giovanni ; chome  pelloro  iscritta  vedrete. 

Grano istaia  20  . Lir.  29,  b.  3,  d.  8 

Truovomi  sul  monte  nel  quartiere  di  S.  Giovanni  iscritti  in  me 
Lucha  di  Simone  di  marcho  fior.  1203,  s.  6,  d.  9,  e io  ne  piglio  le  paghe 
— fior.  240,  b.  13,  6 pagate  tutto  le  mia  graveze  in  sino  al  quinto 
— Truovomi  di  paghe  guadagnate  d’aghosto  in  qua  fior.  20 — fior.  12. 

E piu  6 una  sepoltura  di  marmo,  la  quale  6 fatto,  gia  e piu  d’un 
anno,  a Federigho  di  Jachopo  Federighi ; della  quale  siano  appiato 
alia  merchatantia ; none  posso  ragionare  alchuna  cosa  insino  a tanto 
non  e terminato ; quando  sara  chiarita  saro  dinanzi  del  vostro  officio. 

Bocche : 

Lucha  sopra  detto  d’eta  danni  58. 

Incharichi : 

O addare  ogni  anno  al  chapitolo  di  Santa  Maria  de  Fiore  pella  meta  dell’ 
avillaro  della  chasa,  dove  io  abito  Lir.  5,  s.  4.  A fiorini  7 per  cento 
monte  fior.  18,  soldi  11,  den.  6. 

Creditori : 

E pin  resto  addare  a detto  chapitolo  per  detto  avillare  chome  apare 
al  libro  loro  Lir.  15.  E piu  6 a dare  a tadeo  di  Lucha  di  taddeo, 
saponaio,  per  dati  chontanti  prestatomi  piu  tempo  fa  in  piu  volte  e 
piu  tempi,  . . . Fior.  75.” 

Archivio  di  Stato  di  Firenze.  Quartiere  S.  Giovanni-Chiavi,  filza 
829,  c.  1 15. 

6.  Portata  al  Calasto,  1457.  Degli  eredi  di  marco  della  robbia. 

“Figiuoli  eredi  di  marcho  di  Simone  di  marcho  della  robbia. 

Eredi  della  sudita  giaccente  di  ser  giovanni  di  simone  della  robbia 
nostro  zio  disse  1 0 catasto  in  simone  di  marcho  nostro  avo. 


Sustanze : 

Lhia  meza  chasa  per  non  divisa  chon  lucha  di  simone  nostro  zio 
per  nostro  abitare  posto  nel  popolo  di  sail  lorenzo,  chonfina,  etc.,  etc. 

(The  document  is  but  a repetition  of  the  above.  After  follows 


INTRODUCTION 


XXXVll 


a list  of  Debitori  and  Creditori,  and  lastly,  what  is  of  importance  to 
us — the  names  and  ages  of  the  heirs  aforesaid.) 


Bocche : 

Andrea  danni  22 

Simone  danni  20 

pagolo  danni 1/ 

Franciescho 14 

margerita  13-” 


Archivio  di  Stato  di  Firenze.  Onartiere  S.  Giovanni-Chiavi,  filza 
829,  c.  1 13.  Quoted  from  Cruttwell,  302. 

7.  Document  of  146 5.  “Andrea  figlio  del  fu  marco,  popolo  di  S.  Lorenzo, 
intagliatore,  riceve  nel  1465  in  dote  della  sua  moglie  giovanna,  figlia 
di  piero  di  ser  lorenzo  di  paolo,  fiorini  266.“  Quoted  by  Cruttwell, 
304,  from  Gaye  I,  186,  from  Spogli  dello  Strozzi. 

8.  Portata  al  Catasto,  1470.  di  Andrea  della  Robbia. 

“Andrea  di  marco  di  Simone  della  robbia  chio  nel  primo  chatasto 
dissi  in  Simone  di  marcho  e nel  valsente  del  51  in  figlioli  di  marcho, 
nel  58  in  figlioli  di  marcho  detto  . . . 

Sustanze : 

D'una  chasa  per  non  divisa  chon  Lucha  mio  zio  e Simone,  mio  fratello, 
nella  cjuale  abito,  posta  a san  Barnaba  in  via  Ghuelfa,  da  1 0 via,  da 
2 0 berto  di  rondone,  da  3 0 beni  di  Santa  Maria  del  fiore,  del  4 0 
piero  sassetti,  e la  detta  chasa  chonpramo  da  lippo  di  biagio  da 
Peretola.  . . . 

Lucha  di  Simone  della  robbia,  mio  zio,  mi  domanda  buona  sonima 
di  danari,  della  cjuale  io  ne  fusse  debitore,  chome  lui  dicie ; mi  rimarebbe 
picola  cbosa  et  pero  mi  vi  rachomando. 

E trovomi  chon  bocche : 

Andrea  detto  d'eta  d'anni 33  f 200 

Nanna  mia  donna  d’eta  danni 21  f 200 

Antonio  mio  figliolo 3 f 200 

Marcho  mio  figliolo 2 f 200 

Giovanni  mio  figliolo 1 f 200” 

Archivio  di  Stato  di  Firenze.  Onartiere  S.  Giovanni-Chiavi, 
filza,  927,  c.  52.  Quoted  by  Cruttwell,  304,  from  Gaye,  I,  186-187. 

9.  Testament  of  Luca  della  Robbia,  1471  (Old  Style,  1470). 

“In  Dei  nomine  amen.  Anno  Domini,  etc.,  1470,  indictione  iv.  et 
die  19  februarii,  presentibus-septem  fratribus  S.  Marci. 

Lucas  olim  Sipionis  marci  della  Robbia,  scultor,  civis  florentinus, 
de  populo  S.  Laurentii  de  Florentia,  sanus  mente,  sensu,  corpore,  visu 
et  intellectu,  nolens  intestatus  decedere,  etc.  . . .” 


xxxviii  INTRODUCTION 

Imprimis  quidem  animam  suam  omnipotenti  Deo  ejusque  gloriose 
Matri  humiliter  et  devote  recommandavit — et  sepulturam  corporis 
sui  elegit  eo  loco  et  cum  illis  funeris  expensis,  prout  videbitur  suo 
heredi. 

Item  reliquit  et  legavit  opere  See  Maria  dor.  9 et  novem  Horen, 
fabrice  dicte  opere. 

Item  legavit — domine  Cbecche  ejus  nipote  et  filie  olim  marci 
Simonis  della  Robbia,  veclue,  Hor.  aur.  centum,  quos  solvi  voluit  per 
ejus  heredem. 

Item  dicens — qualiter  ipse  habet  duos  nepotes  ex  fratre,  videlicet 
Andream  et  Simonem  fratres,  et  dlios  Marci  Simonis  della  Robbia, 
et  qualiter  ipse  Lucas  tempore  vite  sue  docuit  artem  suam  sculture 
dictam  Andream,  et  adeo  quod  ipse  Andreas  per  se  ut  magister  potest 
exercere  artem  dicti  Luce,  et  eidem  Andree  in  vita  ipsius  Luce  reliquit 
omnem  creditum  dicti  Luce,  et  adeo  quod  ipse  Andreas  mediante  in- 
dustria  dicti  Luce  et  ejus  documentis  habet  artem  lucrativam  adeo,  quod 
usque  in  hodiernum  diem  satis  superlucratus  est,  et  hodie  superlucratur, 
et  in  futurum  actus  est  superlucrari,  cum  ipsa  arte  et  ejus  exercitio 
potest  facilime  et  honorifice  familiam  suam  nutrire,  et  dictum  Simonem 
nihil  docuit  in  vita  sua ; et  considerans  quod  omnia  bona  non  sunt 
sufficients  nec  tanta,  quanta  industria  dicti  Andree,  quam  ipse  habet 
Andreas  mediante  donatione  dicti  Luce,  et  volens  ut  dictus  Simon 
habeat  aliquid  ex  bonis  dicti  Luce,  et  ne  posset  tarn  a dicto  Simone 
quam  ab  hominibus  intelligentibus  de  ingratitudine  reprehendi,  in 
omnibus  ejus  bonis  heredem  instituit  dictum  Simonem,  ejus  nepotem 
predictum,  etc.” 

Archivio  Generale  di  Firenze,  Rogiti  di  Ser  Agnolo  di  Cinozzo. 
Quoted  by  Cruttwell,  304-305,  from  Gaye  I,  184-185. 

10.  Luca  declines  office  of  Consul  of  Guild  of  Masons  and  Woodcarvers. 
1471,  Aug.  4.  ‘‘Lucas  olim  Simonis  della  Robbia,  civis  Horent.  ex- 
tractus  ut  ipse  asserit,  in  consulem  artis  magistrorum  de  Horentia, 
dicens  et  asserens  se  esse  et  etate  et  infirmitate  adeo  gravatus,  quod 
sine  periculo  sue  persone  dictum  officium  commode  exercere  non 
posset,  etc.  . . .” 

Archivio  Generale  di  Firenze,  Rogiti  di  Ser  Agnolo  di  Cinozzo. 
Quoted  by  Cruttwell,  305-306  from  Gaye  I,  185-186,  note  1. 

11.  Portata  al  Catasto,  1480,  di  Luca  della  Robbia. 

‘‘Gonfalone  Chiave : 

Lucha  di  Simone  della  robbia  ebbe  di  catasto  1469  in  Lucha  detto 
e in  detto  ghonfalone. 

Sustanze : 

Una  meza  casa  per  non  divisa  con  andrea  e simone  di  marcho  miei 
nipotti  posta  nel  popolo  di  sail  lorenzo,  ghonfalone  liondoro  da  1 0 
via,  2 piero  sassetti  3 " l'erede  di  bertto  di  rondone  legnaiolo  per 
4 capitolo  di  santa  maria  del  Hore  comperai  io  lucha  e marcho  mio 
fratello  e padre  di  detti  andrea  e simone  da  lippo  di  biagio  da  peretola 


INTRODUCTION 


XXXIX 


a di  21  d’agosto  1446  per  pregio  cli  fiorini  220.  Carta  per  Ser  Jachopo 
daromena  la  cpiale  abittiamo. 


[The  omitted  parts  are  almost  a repetition  of  the  former  Declarations.] 
Bocche : 

Lucha,  eta  elanni 82.” 

Archivio  di  Stato  di  Firenze.  Quartiere  S.  Giovanni-Chiavi. 
No.  1021,  c.  420. 

12.  Date  of  death.  1482,  Feb.  20. 

The  Libro  dei  Morti  of  the  Guild  of  Physicians  and  Apothecaries, 
to  which  Luca  della  Robbia  belonged,  gives  the  date  of  his  death  as 
February  20,  1482  (old  style,  1481).  He  was  buried  in  the  church  of 
S.  Piero  Maggiore.  Baldinucci,  V.  224. 


CHAPTER  I 

1430-1440 


LUCA  DELLA  ROBBIA 


CHAPTER  I 
1430-1440 

1 THE  MARBLE  CANTORIA.  Florence,  Museo  dell’  Opera  del 
Duomo.  1431-1438.  IT. , 3.28  m. ; W.,  5.60  m.  Photos.,  Alinari, 
No.  2545-2546;  Brogi,  No.  9703,  13301 ; Burton  & Co. 

The  earliest  work  by  Luca  della  Robbia  of  which  we  know  the  date,  is 
the  Cantoria  or  Choir  Gallery,  made  for  the  Cathedral  of  Florence,  and 
now  in  the  Cathedral  Museum.  The  documents  relating  to  this  work  are 
given  in  full  by  Giovanni  Poggi  in  the  second  volume  of  Italienischc  For- 
schungcn,  published  by  the  German  Kunsthistorisches  Institut  in  Florence. 
From  these  documents  we  derive  some  data  of  interest.  The  first  reference 
to  the  contract  with  Luca  della  Robbia  bears  the  date  October  4,  1431,  and 
the  first  payment  to  this  “maestro  d’intaglio”  is  dated  April  9,  1432.  The 
documents  record  many  payments,  amounting  altogether  to  872  florins,  8 
soldi.  Of  this  sum,  600  fl.  were  for  the  reliefs,  and  the  remainder  for  the 
architectural  part  of  the  gallery.  On  August  28,  1438,  the  “perghamo”  is 
said  to  have  been  “posto  e murato  nella  ehiesa  maggiore  sopra  l’uscio  della 
sagrestia  di  verso  i Servi.”  This  determines  for  us  the  site  as  over  the  entry 
to  the  north  sacristy,  the  bronze  doors  of  which  are  also  by  Luca  della 
Robbia.  The  documents  tell  us  by  whom,  and  through  whom,  the  marble 
was  ordered  from  the  Carrara  quarries.  Some  of  it  was  ordered  according 
to  the  measurements  of  Filippo  Brunelleschi  and  of  the  capomaestro 
Battista  d'Antonio  from  a certain  Francesco  d’ Andrea  Fraschetta.  The 
rest  was  purchased  of  Nanni  di  Piero  Ticcii.  The  architectural  part  of 
the  gallery  reflects  Brunelleschi's  style,  but  can  hardly  have  been  designed 
by  him.  Brunelleschi  also  supplied  the  measurements  for  Donatello’s 
Choir  Gallery,  which  is  in  quite  a different  style.  Luca  doubtless  designed 
the  architecture,  as  well  as  the  reliefs,  of  his  Cantoria,  but  was  assisted  in 
the  execution  of  the  framework  by  Nanni  da  Miniato,  known  also  as  Fora. 


3 


Fig.  i.  The  Marble  Cantoria. 


LUCA  DELLA  ROBBIA 


5 


The  history  of  Luca’s  Cantoria  is  known  in  detail.  It  remained  in  its 
high  and  dimly  lighted  position  in  the  Cathedral  until  1688.  Even  in  the 
sixteenth  century  Antonio  Billi  and  the  Anonimo  del  Codice  Magliabecchiano 
complained  that  on  account  of  its  high  position  the  perfection  of  its  work- 
manship was  lost  to  view.  Vasari  recognized  its  beauty  even  at  the  height 
of  sixteen  bracchia,  but  asserts  that  it  suffered  more  from  its  high  position 
than  did  Donatello’s  Cantoria — a criticism  repeated  without  due  thought  by 
many  later  writers.  In  1688  both  cantorie  were  removed,  and  replaced 
by  wooden  galleries  of  larger  size.  This  was  done  to  provide  a larger 


Fig.  2.  Cantoria.  Detail. 


choir  on  the  occasion  of  the  wedding  of  Prince  Ferdinando,  son  of  the 
third  Cosimo,  to  Violante  Beatrice  of  Bavaria. 

According  to  Vasari,  it  was  at  the  instance  of  Messer  Vieri  de’  Medici, 
a citizen  of  great  popularity,  that  Luca  della  Robbia  was  given  the  contract 
for  the  choir  gallery.  It  was  for  the  convenience  of  a later  Medici  that 
the  gallery  was  removed.  Fortunately  the  strong  consoles,  which  supported 
the  balcony  were  left  in  place,  together  with  the  frieze  immediately  above 
it.  All  of  the  reliefs  were  utilized  for  decorative  purposes  nearer  the 
ground,  where,  according  to  Senator  Alessandro  Segni,  their  beauty  could 
be  better  appreciated.  They  were,  however,  soon  removed  to  an  unimpor- 


6 


LUCA  DELLA  ROBBIA 


tant  room  of  the  Opera  del  Duomo,  where  they  remained  until  1822, 
when  they  were  placed  in  the  Galleria  degli  Uffizi,  and  later  in  the  Museo 
Nazionale.  In  1841  the  consoles  were  removed  from  the  Cathedral,  and 
new  stone  cantorie  were  erected  in  1845  by  the  architect  Beccani.  It  was 
not  until  1883  that  a serious  attempt  was  made  to  bring  together  into  a 
harmonious  whole  the  reliefs  and  the  architectural  parts  of  the  Cantoria. 
This  restoration  was  made  by  Professor  Luigi  del  Moro,  who  also  restored 
the  similarly  dismantled  Cantoria  of  Donatello.  The  two  were  placed  in 


Fig.  3.  Cantoria.  Detail. 


a new  room  in  the  Museo  dell’  Opera  del  Duomo,  where  they  are  now 
displayed  under  conditions  of  light  quite  different  from  those  for  which 
they  were  designed,  but  near  enough  to  the  eye  of  the  spectator  to  be 
studied  in  detail. 

Del  Moro  had  at  his  disposal  the  ten  reliefs,  the  lower  base,  the 
consoles,  and  the  lower  frieze  of  the  balcony.  He  was  also  acquainted 
with  the  document  of  March  20,  1438  (Poggi,  No.  1281),  in  which  refer- 
ence was  made  to  channelled  members  (pilasters)  with  bases  and  capitals, 
to  a large  cornice  with  inscriptions  and  dentils,  to  a cornice  without  dentils 


LUCA  DELLA  ROBBIA 


7 


adorned  with  the  leaf  or  tongue  ornament  (alinguazata),  and  to  other 
cornice  mouldings.  His  restoration  (Fig.  i)  of  the  pilasters  and  of  the 
upper  entablature  is  in  stucco,  and  has  been  set  upon  the  original  consoles, 
which  are  of  marble.  As  the  spaces  to  be  filled  by  pilasters  were  short 
and  broad  he  conceived  pilasters  of  the  Ionic  order,  producing  a sturdy  and 
elegant  effect.  The  effect  was,  however,  not  precisely  that  which  might 
be  expected  of  an  architectural  design  of  the  early  fifteenth 
century.  Professor  Marcel  Reymond,  in  1898,  pointed  out 
that  Del  Moro  should  have  employed  coupled  pilasters,  such 
as  Brunelleschi  had  used  in  the  faqade  of  the  Pazzi  Chapel, 
and  Donatello  and  Michelozzo  in  the  exterior  pulpit  at 
Prato.  About  the  time  when  Marcel  Reymond  made  this 
criticism  Cav.  Giuseppe  Castellucci  was  engaged  in  restor- 
ing the  lantern  of  the  Baptistery,  where  he  found  several 
fragments  (Fig.  4)  now  in  the  Opera  del  Duomo,  which 
probably  formed  a part  of  the  missing  architecture  of  Luca’s 
Cantoria.  His  restoration,  first  published  by  Marrai,  has 
therefore  replaced  that  of  Del  Moro  and  embodies  almost 
all  of  the  details  as  designed  by  Luca  della  Robbia.  The 
general  effect  gains  in  lightness  and  delicacy  without  loss  of 
elegance.  The  dentils,  egg  and  dart,  leaf  and  dart,  head 
and  reel  and  other  classical  motives  were  not  new  discov- 
eries in  the  fifteenth  century.  Luca  could  have  seen  them 
all  in  the  thirteenth  century  choir  screen  and  pulpit  at  S.  Miniato,  and  in  the 
pulpit  now  in  S.  Leonardo  in  Arcetri,  at  Florence. 

Before  taking  leave  of  the  architecture  of  this  Cantoria  let  me  draw 
attention  to  the  beautiful  floral  designs  that  decorate  the  sides  of  the  con- 
soles (Figs.  2,  3),  and  to  those  of  the  panels  in  the  soffit  of  the  balcony 
(Fig.  5),  charming  decorations  of  historic  importance  which  have  escaped 
the  attention  of  those  who  have  hitherto  described  this  monument. 

The  Cantoria  was  designed  for  a quartette,  hence  the  sculptured  reliefs 
visible  in  front  are  distributed  into  two  series  of  four  each.  Other  reliefs, 
which  decorated  the  sides  of  the  balcony,  are  now  exhibited  on  the  wall 
of  the  museum,  their  places  on  the  Cantoria  being  filled  by  plaster  reproduc- 
tions. The  subject  of  the  reliefs,  a heavenly  choir  of  vocal  and  instrumental 
musicians,  is  a plastic  translation  of  Psalm  150,  which  was  sung  at  the  end 
of  Holy  Mass.  The  heavenly  character  of  the  musicians  is  evident  from 


Fig.  4.  Cantoria.  Detail. 


8 


LUCA  DELLA  ROBBIA 


the  fact  that  two  of  them  are  winged  and  all  are  standing  on  clouds.  The 
series  begins  with  the  relief  of  the  singers  on  the  left  end  of  the  balcony, 
reads  across  the  upper  tier  from  left  to  right,  then  across  the  lower  tier  in 
the  same  direction,  and  terminates  with  the  relief  of  the  singers  on  the 
right.  The  order  was  determined,  not  as  Schubring  suggests  by  distrib- 
uting the  wind  implements  and  the  strings  as  in  an  orchestra,  but  by  a 
literal  following  of  the  order  given  by  the  Psalmist,  the  words  of  which 
are  as  follows : 


Fig.  5.  Cantoria.  Detail. 

Alleluia.  Laudate  Dominum  in  Sanctis  ejus.  Laudate  eum  in  firma- 
mento  virtutis  ejus.  Laudate  eum  in  virtutibis  ejus.  Laudate  eum  secun- 
dum multitudinem  magnitudinis  ejus.  Laudate  eum  in  so  no  tubae.  Laudate 
eum  in  psaltcrio  et  cithara.  Laudate  eum  in  timpano  et  choro.  Laudate 
eum  in  cordis  et  organo.  Laudate  eum  in  cymbalis  benesonantibns.  Lau- 
date eum  in  cymbalis  jubilationis.  Omnis  spiritus  laudet  Dominum. 
Alleluia. 

The  ten  panels  are,  like  Greek  metopes,  executed  in  high  relief,  and 
composed  with  similar  attention  to  isocephalism  and  symmetry. 


LUCA  DELLA  ROBBIA 


9 


(i).  Alleluia  Relief  or  Boys  Singing  from  a Chorale.  Photos., 
Alinari,  No.  2551  ; Brogi,  Nos.  3249,  9255,  13300. 

Seven  boys  are  represented,  so  arranged  that  our  eye  is  naturally 
directed  from  left  to  right  (Fig.  6).  Two  boys  hold  the  chorale,  from 
which  they  and  three  older  boys  are  singing.  One  beats  time  with  his 
hand,  another  with  his  foot.  Their  curly  locks,  sketchily  indicated,  were 
once  marked  with  colour,  as  were  the  eyes,  which  have  incised  pupils,  and 
irises  bounded  by  an  incised  circle.  Their  faces  are  intensely  serious,  and 
their  throats  show  the  strain  to  which  they  are  subjected.  They  wear 
tunics  over  which  are  cloaks  fastened  by  buttons  or  brooches  on  the 
shoulders.  One  only  is  barefooted. 


Fig.  6.  Cantoria.  Alleluia  Relief.  Fig.  7.  Cantoria.  Trumpeters. 

(2).  The  Trumpeters.  Photos.,  Alinari,  No.  2552;  Brogi,  Nos.  3251, 

9537- 

Three  boys  to  the  left  are  blowing  long  trumpets,  one  with  a curved 
tube  (Fig.  7).  Two  wear  garlands  of  laurel  about  their  heads,  as  if  they 
had  taken  prizes  in  music.  A corresponding  group  in  lower  relief  to  the 


IO 


LUCA  DELLA  ROBBIA 


right  carry  shorter  trumpets  resembling  flutes.  These  six  figures  are  not 
arranged  in  true  perspective,  the  heads  in  the  background  being  too  high  and 

too  large,  possibly  that  they  might  be  seen  to 
greater  advantage  when  the  balcony  was  set 
in  its  lofty  position.  The  boy  to  the  extreme 
left  (Fig.  8)  is  a strong  terminal  figure, 
from  which  the  spectator’s  eye  is  gently 
led  toward  the  right.  Four  younger  children 
in  front  are  dancing  and  playing  with  the  musi- 
cians. In  the  double  curves  of  the  hanging 
draperies  and  in  the  S-shaped  terminations  of 
the  folds  we  are  reminded  of  Ghiberti’s  stylis- 
tic peculiarities. 

An  early  stucco  reproduction  of  this  relief 
(Fig.  148)  may  be  seen  in  the  Victoria  and 
Fig.  8.  Cantoria.  Detail.  Albert  Museum,  London. 


(3).  Players  on  the  Psaltery.  Photos.,  Alinari,  No.  2550;  Brogi,  Nos. 


3254>  952°’  9536- 

In  the  foreground  are  three  boys  playing 
the  psaltery  and  singing;  in  the  background 
five  others,  only  one  of  whom  is  singing  (Fig. 
10).  Two  putti  below  with  psalteries  echo  the 
music  of  the  choir  (Fig.  9).  The  mantle 
of  the  central  figure  is  knotted,  instead  of 
being  fastened  with  a brooch.  The  sleeves 
of  the  players  are  buttoned  along  the  lower 
arm.  All  the  feet  represented  are  bare.  The 
background  seems  to  have  been  coloured, 
possibly  blue.  The  composition  is  reposeful, 
with  a slight  tendency  to  carry  the  eye  from 
left  to  right. 


Fig.  9.  Cantoria.  Detail. 


LUCA  DELLA  ROBBIA 


I I 


Fig.  io.  Cantoria.  Players  on  Psaltery. 


(4).  Players  on  the  Cithara.  Photos.,  Alinari,  No.  2549;  Brogi,  No. 

355-2- 

Here  are  six  maidens,  a boy,  and  two  putti  (Fig.  11).  Two  of  the 
maidens  play  the  cithara  and  are  singing.  The  musical  instruments  have 
five  strings  each  and  are  terminated  with  human  heads.  The  first  maiden 
to  the  left  wears  a scarf  twice  bound  around  her  head  like  a turban.  A 
mantle  is  thrown  over  her  long  tunic,  which  is  girdled  just  below  the 
breast.  Next  to  her,  in  the  background,  is  a maiden  whose  hair  is  bound  by 
a narrow  ribbon.  The  central  figure  with  oval  face  has  her  hair  braided 
around  her  head  like  a crown.  There  is  an  ornamental  neckband  to  her 
tunic  which  falls  in  long  converging  Gothic  folds  to  the  ground.  Next  is  a 
maiden  with  braided  hair,  then  two  more  maidens  and,  in  the  background,  a 
boy.  The  natural  folds  of  the  draperies  of  the  second  cithara  player  are 
quite  classic  in  character.  Two  putti  seated  in  the  foreground  point 
upward  to  the  players. 


12 


LUCA  DELLA  ROBBIA 


Fig.  ii.  Cantoria.  Cithara  Players. 

(5).  The  Drummers.  Photos.,  Alinari,  No.  2547;  Brogi,  Nos,  3248. 

9519>  9538- 


Plere  are  three  drummers:  two  beating  their  drums;  the  third,  with 
drum  suspended  from  his  neck,  is  playing  a pipe.  Two  youths  stand  in  the 
background  and  four  nude  children  are  dancing  or  hiding  (Fig.  13).  We 
may  observe  the  roses  on  the  turban  of  the  first 
drummer,  the  flower  or  fruit  garland  on  the 
second  drummer  (Fig.  12),  and  the  rose  in  the 
hand  of  one  of  the  dancing  children — a possi- 
ble allusion  to  S.  Maria  del  Fiore. 

The  drummers  have  fringed  garments, 
with  fringed  shoulder-pieces,  and  sleeves  with 
buttons.  Their  footwear  is  varied.  The  com- 
position is  well  balanced,  the  piping  drummer 
forming  a terminal  figure  to  balance  the  first 
trumpeter  at  the  extreme  left  end  of  the  bal- 
cony. Ghiberti-like  curves  appear  in  the  dra- 
peries, but  the  mischievous,  hiding  children  are 


more  suggestive  of  the  influence  of  Donatello. 


Fig.  1 2.  Cantoria.  Detail. 


LUCA  DELLA  ROBBIA 


13 


We  call  attention  again  to  the  flower  and  fruit  garland  of  the  central 
figure — a motive  destined  to  play  an  important  part  in  subsequent  Robbia 
work.  The  composition  of  the  garland  is  not  schematic,  the  fruit  and 
flowers  being  asymmetrically  arranged. 


Fig.  13.  Cantoria.  Drummers. 


(6).  The  Choral  Dancers.  Photos.,  Alinari,  No.  2554;  Brogi,  Nos. 

3256,  9521. 

The  document  for  August  26,  1434,  distinguishes  between  the  major 

and  minor  reliefs.  The  lower  series  were  doubtless  reckoned  as  tbe  minor, 

since  in  general  they  contain  fewer  figures,  and  being  in  shadow  it  was  not 
necessary  that  they  should  be  carried  to  the  same  degree  of  finish.  They 
were  somewhat  nearer  the  spectator,  hence  the  clouds  on  which  the  children 
are  standing  are  more  clearly  represented.  As  in  the  upper  series  the  two 
terminal  reliefs  have  strongly  accented  terminal  figures,  while  in  the  two 
central  reliefs  the  central  figures  are  more  emphasized. 

The  Choral  Dancers  (Fig.  14)  are  represented  by  six  boys  and  a girl 

in  a circle  with  hands  joined,  the  circular  composition  reminding  us  of 

Masaccio’s  famous  Tribute  Money  group  in  the  Carmine.  The  figures  in 
the  background  are  in  lower  relief,  but  there  is  no  attempt  to  depart  from 


14 


LUCA  DELLA  ROBBIA 


Fig.  14.  Cantoria.  Choral  Dancers. 


the  old  tradition  of  isocephalism.  The  children 
are  singing  as  well  as  dancing.  Five  of  the 
seven  wear  garlands  asymmetrically  composed 
of  flowers  or  of  laurel  leaves  and  berries  (Fig. 

15).  As  a rule  they  are  lightly  draped  as  com- 
pared with  the  children  of  the  upper  series. 

The  frames  of  the  lower  series  are  also  simpler, 
consisting  of  plain  unornamented  ovolo 
mouldings. 

(7).  Ti-ie  Players  on  the  Organ  and  FIarp.  Photos,  Alinari,  No. 

2555  i Brogi,  No.  3255. 

The  central  figure  in  a group  of  nine  children,  seated  on  an  ornamented 
bench,  plays  a primitive  organ : his  left  hand  working  the  bellows,  bis  right 
playing  the  keys  (Fig.  16).  We  wonder  if  this  may  not  be  a diminutive 
representation  of  the  old  cathedral  organ  or  of  the  newer  one  made  by 
Matteo  da  Prato  (1433-1439).  The  stringed  instruments  consist  of  a small 
harp  or  lyre,  and  a cithara  or  mandolin.  The  cithara  is  less  elaborate  than 


LUCA  DELLA  ROBBIA 


15 


those  represented  in  the  upper  series.  All  the  children  in  this  relief — in 
fact  in  the  entire  lower  series- — are  barefooted.  All  are  lightly  draped. 
Two  wear  twisted  fillets. 


Fig.  16.  Cantoria.  Organ  and  Harp. 


(8).  The  Tambourine  Players.  Photos.,  Alinari,  No.  25^6;  Brogi,  No. 

3253-  9539- 

This  is  another  centralized  composition,  consisting  of  an  emphasized 
central  figure  with  three  receding  figures  on  either  side  (Fig.  17).  The 
cymbalo,  benesonantia  are  here  expressed  by  tambourines,  which  are  held  by 
five  of  the  seven  children.  In  contrast  with  Donatello’s  dancing  children, 
who  are  represented  in  impossible  attitudes,  these  children  and  the  tam- 
bourines are  successfully  posed  at  various  angles  to  the  spectator.  The 
central  figme  can  ies  a taenia  over  his  right  arm  and  a long  laurel  garland 
about  his  neck.  Another  laurel  wreath  is  carried  by  the  boy  at  the  extreme 
right.  The  two  terminal  figures  have  wings,  an  indication  that  the  entire 
throng  is  to  be  considered  a heavenly  choir.  Where  draperies  are  used, 
they  show  long,  swinging  curves  and  S-shaped  fold  endings.  The  faces 
exhibit  great  variety  of  expression. 


LUCA  DELLA  ROBBIA 


16 


Fig.  17.  Cantoria.  Tambourine  Players. 


(9).  The  Cymbal  Players.  Photos.,  Alinari,  No.  2553  ; Brogi,  No.  3257. 

The  cymbalo  jubilationis  are  here  represented  in  the  hands  of  five 
of  the  six  children  (Fig.  18).  This  relief  is  the  last  of  the  two  frontal 
series,  and  balances  the  relief 
of  the  trumpeters.  It  is  full 
of  movement,  from  right  to 
left,  and  has  a strong  term- 
inal figure  to  the  right.  The 
children  are  full  of  anima- 
tion and  enjoy  their  high- 
sounding  cymbals.  Two  wear 
floral  wreaths,  and  two  wear 
fillets,  of  which  one  is  stud- 
ded with  gems.  The  cymbals 
are  provided  with  cords  and 
tassels,  by  means  of  which 
they  are  firmly  held. 


Fig.  18.  Cantoria.  Cymbal  Players. 


LUCA  DELLA  ROBBIA 


17 


(10).  Alleluia  Relief  or  Boys  Singing  from  a Scroll.  Photos., 
Alinari,  No.  2548;  Brogi,  Nos.  3250,  9524. 


The  150th  Psalm  begins  and  ends  with 
an  Alleluia.  So  on  the  narrow  right  end  of 
the  balcony  there  is  a second  relief  of  sing- 
ing boys  (Fig.  19).  They  are  reading  from 
a scroll.  The  two  foremost  have  their  arms 
over  each  other's  shoulders,  and  one  beats 
time  with  his  finger.  Two  in  the  back- 
ground are  also  singing,  while  one  resting 
his  head  on  his  hand  is  listening  only.  They 
wear  legg'ings,  which  leave  the  toes  ex- 
posed— a more  elaborate  footwear  than  that 
represented  in  the  first  Alleluia  relief.  The 
draperies  have  simple,  naturalistic  folds. 


Fig.  19.  Cantoria.  Alleluia  Relief. 


DOCUMENTS 

[Quoted  from  Poggi,  Ital.  Forsch.,  II,  249-256.] 

1.  (Poggi,  No.  1240.)  1431,  Ottobre  4. 

Item  confirmaverunt  quamdam  emptionem  factam  per  provisorem 
opere  cuidam  Luce  Simonis  marci  della  robbia,  pro  pretio  librarum  decern 
et  soldorum  . . . de  quodam  marmore  albo.  [Dclib.,  1425-1436,  c. 
149  K] 

2.  (P.  1241.)  1432,  Aprile  9. 

Lucha  di  Simone  di  marcho  della  robia,  maestro  d’intaglio,  de’avere 
f.  VI  d’oro  allui  prestati  nel  lavorio  del  perghamo  degli  orghani  debe  fare 
all'  opera,  in  tuto  chome  apare  a libro  segnato  C a c.  108.  [Stanz., 
CC,  c.  30.] 

3.  (P.  1242.)  1432,  Aprile  29. 

Item  conduxerunt  in  magistrum  opere  ad  laborandum  cornices  perghami 
locati  ad  faciendum  Luce  Simonis  marci  della  Robbia,  pro  eo  salario 
quod  declarabitur  per  caputmagistrum  opere,  Caprinum  Dominici  Justi  de 
Settignano.  [Delib.,  1425-1436,  c.  158  ‘.] 


i8 


LUCA  DELLA  ROBBIA 


4.  (P.  1243.)  1432.  Luglio  11. 

Item  deliberaverunt  quod  capudmagister  opere,  expensis  opere,  fieri 
faciat  locum  inceptum  per  caputmagistrum  in  quo  stare  debeat  ad  laboran- 
dum  laborerium  perghami  locatum  per  dictos  operarios  lucas  marci  simonis 
dellarobbia  eidem  luce.  [ Delib .,  1425-1436,  c.  165 .] 

5.  (P.  1244.)  1432,  Ottobre  22. 

A Lucha  di  Simone  di  marcho  della  Robia  che  fa  el  perghamo  del  mar- 
mo,  f.  XII  d’oro,  e’  quali  gli  stanziano  per  parte  di  danari  de’  avere  per 
lavorio  a fatto  per  lo  detto  perghamo.  [Stans.,  CC,  c.  42  b] 

6.  (P.  1245.)  1432,  Novembre  29. 

Item  deliberaverunt  quod  dictus  capudmagister  dare  teneatur  Luce 
marci  della  Robbia  medietatem  cuiusdam  lapidis  recise  pro  faciendo  tabulas 
perghami  eidem  per  eorum  offitium  locati,  et  quod  de  dicto  marmore  scriba- 
tur  dictus  lucas  debitor  opere.  [Delib.,  1425-1436,  c.  191.] 

7.  (P.  1246.)  1432,  Dicembre  9. 

Item  deliberaverunt  quod  provisor  opere  prefate  reducere  teneatur  sub 
nomine  Niccolai  Ugbonis  de  Alexandris,  Mattei  de  Strozis  et  Johannis  lapi 
de  niccolinis,  provisorum  opere,  ad  faciendum  fieri  sepulturam  sancti  Zeno- 
bii  locatam  laurentio  bartaluccii  et  altare  prefati  sancti  locatum  filippo 
ser  brunelleschi  et  unum  par  orghanorum  locatum  Matteo  de  Prato  et  per- 
ghamum  orghanorum  locatum  luce  marci  della  robbia,  stantiamenta  alias 
facta  et  missa  ad  exitum  sub  nomine  Bernardi  amerigi  de  Donatis  et  Nardi 
Segantis  alias  Sacchardi.  [Delib.,  1425-1436,  e.  192.] 

8.  (P.  1247.)  1433,  Gennaio  23. 

A Nicholaio  de  Allesandri  e Matteo  di  Simone  Strozi,  uficiali  della 
sepoltura  di  sancto  Zanobi  e del  fare  i perghami,  fior.  XV  d’oro,  disono  per 
dare  a Lucha  di  Simone  della  robia  fa  el  perghamo.  [Stans.,  CC,  c.  47.] 

9.  (P.  1248.)  • 1433,  Marzo  31. 

A Lucha  di  Simone  della  Robia,  scharpellatore,  diputato  a fare  il 
perghamo,  fior.  XXV' II  d’oro  per  parte  di  sua  fatigha.  [Stans.,  CC,  e.  5/.] 

10.  (P.  1249.)  1433,  Maggio  19. 

Item  deliberaverunt  quod  conductores  marmoris  albi  opere  teneantur  et 
debeant  ad  instantiam  luce  simonis  dellarobbia,  magistri  perghami  or- 
ghanorum, conducere  pro  perghamo  opere  illam  quantitatem  marmoris 
qua  dictus  lucas  indigeret  pro  dicto  perghamo,  expensis  opere.  [Delib., 
1425-1436,  c.  198  b] 

11.  (P.  1250.)  1433,  Novembre  12. 

A Lucha  di  Simone  della  Robia  che  lavora  in  sul  perghamo  del  marmo, 
per  parte  di  quelo  debe  avere,  fior.  XV  a libro  C . . . [Stans.,  CC,  c.  63  b] 


LUCA  DELLA  ROBBIA 


19 


12.  (P.  1251.)  1433,  Dicembre  23. 

A Nanni  di  Miniato  detto  Fora,  scharpellatore,  1.  XL  p.,  e'  qua’  danari 
a lui  si  dano  per  sua  fatigha  innavere  fatto  braccia  10  di  chornice  del  per- 
ghamo che  fa  al  presente  lucha  di  Simone  dellarobia,  a libro  C c.  135. 
[Stans.,  CC,  c.  66.] 

A Lucha  di  Simone  della  Robia,  scharpellatore,  fior.  X d’oro,  e’  qua’ 
danari  a lui  si  dano  per  parte  del  perghamo  ch’  al  presente  per  lui  si  fa  per 
l’opera,  cho[/z]  questo  che  in  prima  e'  faci  che  Matteo  di  Simone  Strozi 
vengha  ad  achonciare  la  ragione  del  perghamo  e orghani  e sepoltura  di 
sancto  Zanobi,  e altrimenti  no[»]  gli  abi ; a libro  segnato  C c.  233.  [Stans., 
CC,  c.  66.] 

A Francesco  d’ Andrea  Fraschetta,  scharpellatore  e chondottore  del 
marmo  biancho,  1.  LX  p„  e’ qua’ danari  a lui  si  danno  e presta[/;o]  sopra 
ia  lapida  di  braccia  5 che  lavora  Donatello  per  lo  perghamo,  e due  altri  pezi, 
di  braccia  2 1’  uno,  per  Lucha  della  Robia  che  fa  el  perghamo,  a libro  C c. 
89.  [Stans.,  CC,  c.  66.] 

13.  (P.  1252.)  1433,  Dicembre  30. 

Prefati  operarii  deliberaverunt  atque  partito  locaverunt  Checho  Andree 
Fraschetta  de  Septignano  ad  cavandum  et  conducendum  a cava  Carrarie 
ad  operam  unam  lapidem  maiorem  lapidibus  sepulturarum  et  eo  modo  et 
forma  prout  dabitur  eidem  per  mensuram  et  modonum  per  Filippum  ser 
Brunellescbi  et  Batistam  Antonii,  capudmagistrum  opere,  pro  perghamo 
quern  actualiter  facit  Donatus1  Niccolai,  magister  intagli  alias  Donatello,  et 
duos  petios  marmoris  mensuris  per  prefatos  Filippum  et  Batistam  eidem 
exhibendis  pro  perghamo  quern  facit  Lucas  Simonis  della  Robbia.  [Dclib., 
1425-1436,  c.  208  f.] 

14.  (P.  1253.)  1434.  Geunaio  15. 

A Lucha  di  Simone  della  Robia.  fior.  X d’oro,  e’  qua’  danari  allui 
si  dano  e prestano  sopra  el  perghamo  ch’  al  presente  fa,  a libro  segn.  D 
c.  36.  [Stans.,  CC,  c.  67  K] 

15.  (P.  1254:)  1434-  Febbraio  13. 

A Lucha  di  Simone  della  Robia,  maestro  d’intaglio,  fior.  V d’oro, 
e’  quali  danari  gli  si  danno  sopra  e’  perghami  fa  a stanza  dell'  opera,  chom’ 
apare  a libro  D c.  42.  [Stans.,  CC,  c.  6g  fi] 

16.  (P.  1255.)  1434.  Marzo  18. 

A Lucha  di  Simone  della  Robia,  che  lavora  in  sul  perghamo,  per 
parte  di  danari  de’  avere  per  detto  lavorio,  posto  debi  dare  a libro  segn.  D 
c.  42.  fior.  X.  [Stans.,  CC,  c.  71.] 

1 /•  (P.  1256.)  1434.  Giugno  2. 

A Xicholaio  d’Ugho  Alesandri  e Mateo  degli  Strozi  fior.  XXV  d’oro, 
sono  per  dare  a Lucha  di  Simone  della  Robia  per  parte  di  paghamento  del 
perghamo  fa  a stanza  degli  operai,  a libro  segn.  D c.  90.  [Stans.,  CC,  c.  75.] 


20 


LUCA  DELLA  ROBBIA 


18.  (P.  1257.)  1434,  Giugno  9. 

Nicholaio  Alesandri  e Mateo  Strozzi  . . . fior.  L d’oro  per  dare  et 
pagha[/v]  a Lucha  di  Simone  di  marcho  della  Robbia,  per  lavorare  nno 
perghamo  di  marmo  storiato  gli  fu  aloghato  pegli  operai  a quello  tenpo  e 
con  que’  patti  e modi  che  parra  a detti  nficiali.  [Stanz.,  CC,  c.  75  b] 

19.  (P.  1258.)  1434,  Agosto  26. 

Item  similis  modum  et  forma  extimaverunt  et  extimationem  fecerunt 
quatuor  petia  sen  quatnor  petiis  storiarum  cuiusdam  perghami  locati  luce 
simonis  marci  dellarobbia,  videlicet  duo  maiora  et  duo  minora  videlicet 
quodlibet  petium  mains  fl.  sexaginta  et  quodlibet  petium  minus  fl.  XXXV,  in 
totum  in  ipsa  quattuor  petia  fl.  an  CLXXXX  et  ad  dictam  rationem  carnera- 
rius  opere  solvere  teneatur  et  ad  aliam  extimationem  per  eorum  offitium 
non  possit  dictum  pretium  stantiari,  et  hoc  visis  et  examinatis  quampluribus 
extimationibus  a quampluribus  intelligentibus  habitis  super  predictis. 
[Delib.,  1425-1436,  c.  221 .] 

20.  (P.  1259.)  1434.  Dicembre  17. 

Nicholaio  di  Ugho  Alesandri  e Giovanni  Nicholini  ufiziali  sopra  i per- 
ghami et  altri  lavori  fior.  XXX,  per  dare  a Lucha  di  Simone  della  Robbia 
che  fa  uno  perghamo  a libro  segn.  D c.  90.  [Stanz.,  CC,  c.  84  b — IX XX 
fiorini  gli  furono  pagati  il  15  Gennaio  del  1435,  come  risulta  dalla  seguente 
partita  dal  Quadcrno  di  Cassa  di  Niccold  di  Giovannozzo  Biliotti,  a c.  8 7: 
Lucha  di  Simone,  intagliattore,  cle'  avere  a di  15  di  Genaio  fior.  XXX  d’oro, 
per  lui  da  Nicholaio  d’Ugho  degli  Alesandri  ....  nficiali  deputati  sopra 
i perghami  del  marmo,  messi  a loro  a uscita  c.  55  per  parte  di  lavorio  fatto 
detto  Lucha  in  su  detti  perghami.] 

21.  (P.  1260.)  1435,  Gennaio  24. 

Item  deliheraverunt  quod  provisor  opere,  cum  consilio  Chimentis 
Cipriani  ser  Nigi  et  Juntini  Guidonis  Juntini,  dirigere  teneatur  rationes 
Luce  della  Robbia  et  Laurentii  Bartoluccii  et  aliorum  qui  laborant  pro  factis 
opere  in  pergamis  et  alias,  quorum  rationes  sunt  sub  nomine  Mattei  de 
Strozis  et  sotiorum  . . . et  anullaverunt  commissionem  datam  dictis  Macteo 
et  sociis.  [Delib.,  1425-1436,  c.  226.] 

22.  (P.  1261.)  1435,  Aprile  1. 

Lucha  di  Simone  di  marcho  della  Robbia,  fior.  X d’oro,  sono  per 
parte  di  i°  perghamo  che  fa  a stanza  de  l'opera,  di  marmo,  a libro  segn.  D 
e.  126.  [Stanz.,  CC,  c.  93.] 

23.  (P.  1262.)  1435,  Aprile  22. 

Prefati  operarii  . . . considerantes  quasdam  storias  marmoris  factas  ad 
instantiam  opere  per  lucam  simonis  marci  dellarobbia,  pro  uno  perghamo 
sibi  per  operarios  dicte  opere  locate,  et  advertentes  ad  quoddam  pretium 
alias  factum  per  eorum  antecessores  quibusdam  storiis  dicti  perghami  per 
eum  factis  et  considerantes  dictum  Lucam  fecisse  certas  alias  storias  dicti 
perghami  que  nondum  fuerunt  extimate  et  in  quibus  maiorem  laborem  et 


LUCA  DELLA  ROBBIA 


2 [ 

longius  tempus  misit,  et  quod,  in  magisterio,  clicte  storie  quas  facit  ad  pre- 
sens sunt  pulcriores  ac  meliores,  idcirco  . . . deliberaverunt  quod  dicta 
opera  teneatur  et  obligata  eidem  luce  dare  et  solvere  pro  qualibet  storia  facta 
et  nondum  extimata,  et  etiam  pro  qualibet  storia  fienda  totius  perghami,  ii. 
septuaginta,  et  pro  qualibet  storia  minori  illud  minus  quod  tangeret  pro 
rata  cuiuslibet  storie,  et  ad  dictam  rationem  dicti  operarii  teneantur  eidem 
facere  stantiamenta  de  tempore  in  tempus,  prout  dictus  lucas  fecerit  omnes 
storias  dicti  perghami.  \Delib.,  1423-1436,  c.  230  f.] 

24.  (P.  1263.)  1435,  Aprile  26. 

A Luca  di  Simone  della  Robia,  maestro  d'intaglio,  fior.  LV  per  parte 
di  paghamento  di  i°  perghamo  fa  a stanza  dell'  opera,  a libro  segn.  D c.  126. 
[ Static CC,  c.  95  b] 

25.  (P.  1264.)  1 435,  Aprile  29. 

Item  similis  modum  et  forma  declaraverunt  Nannem  Pieri  Ticcii  debere 
recipere  et  habere  ab  opera,  de  marmore  quod  facit  pro  perghamo  luce 
simonis  marci  della  robbia,  illud  pretium  quod  declarabitur  per  eorum 
offitium  ultra  pretium  quod  est  consuetum  dari  de  alio  marmore  conducto 
et  conducendo  pro  cupola,  . . . habito  respectu  quod  mains  tempus  con- 
sumatur  in  charichando  et  scharichando  marmore  dicti  perghami  quam 
aliud  marmor.  [Dclib.,  1423-1436,  c.  232  b] 

26.  (P.  1265.)  1435,  Maggio  6. 

Item  eligerunt  Niccolaum  Ughonis  de  Alexandris,  Salvi  neronis 
dietisalvi  et  Johannem  Lapi  niccolini  in  sollicitatores  et  offitiales  ad  provi- 
denclum  perghamum  locatum  luce  simonis  della  robbia  et  fenestras  locatas 
bernardo  francisci,  magistro  fenestrarum  vitrei,  et  capsam  sepulture  beati 
s.  Zenobii  et  organa  que  hunt  de  novo  . . . [Dclib.,  1423-1436,  c.  2??.] 

27.  ( P.  1266.)  1435,  Giugno  30 

A Lucha  di  Simone  della  Robia,  maestro  d’intaglio  di  hghure  di  manno, 
hor.  XX  d’oro,  sono  per  parte  di  paghamento  di  i°  perghamo  di  manno  fa 
a stanza  dell'  opera,  a libro  segn.  D c.  126.  [Static.,  CC,  c.  101  b] 

28.  (P.  1267.)  1435,  Agosto  26. 

A Lucha  di  Simone  della  Ropia,  maestro  d'intaglio,  hor.  XL  d’oro, 
sono  per  parte  di  paghamento  di  i°  perghamo  di  manno  fa  a stanza  dell' 
opera,  a libro  segn.  D c.  126.  [Static.,  CC,  c.  103 .] 

29.  (P.  1268.)  1435,  Dicembre  7. 

A Lucha  di  Simone  della  Robbia  hor.  XL  d’oro,  sono  per  parte  di 
paghamento  di  1 0 perghamo  che  fa  a stanza  de  l’opera,  a libro  segn.  D 
c.  179.  [Static.,  CC,  c.  no.] 

30.  (P.  1269.)  1435,  Dicembre  14. 

Deliberaverunt  quod  caputmagister  opere  actari  faciat  unum  locum  in 
opera  ubi  lucas  simonis  marci  dellarobbia  laborare  debeat  perghamum 
de  marmore  sibi  locatum.  [Dclib.,  1423-1436,  c.  245  b] 


22 


LUCA  DELLA  ROBBIA 


31.  (P.  1270.)  1436,  Aprile  24. 

A Lucha  di  Simone  della  Robbia,  maestro  d'intaglio,  fior.  XX  d’oro, 
sono  per  parte  di  paghamento  di  i°  perghamo  di  marmo  che  fa  a stanza  de 
l’opera,  a libro  segn.  D c.  181.  [Stems.,  CC,  c.  124.] 

32.  (P.  1271.)  M36,  Giugno  20. 

A Lucha  di  Simone  di  marcho  de  la  Robia,  fior.  XXX  d’oro,  sono  per 
parte  di  paghamento  di  i°  perghamo  che  fa  a stanza  de  l’opera,  di  marmo, 
a libro  segn.  D c.  179.  [Stans.,  CC,  c.  128 .] 

33.  (P.  1272.)  1436,  Ottobre  10. 

A Luca  di  Simone  della  Robia  fior.  XL  d’oro,  per  parte  di  paghamento 
di  1 0 perghamo  di  marmo  che  fa  a stanza  de  l’opera,  a libro  segn.  D c.  179. 
[Stans.,  CC,  c.  137  K] 

34.  (P.  1273.)  1437,  Marzo  7. 

Item  deliberaverunt  quod  caputmagister  et  provisor  destrui  faciant 
domum  ubi  stat  Lucas  della  Robbia  ad  laborandum,  et  de  novo  statuatur 
sibi  unus  alius  locus  in  dicta  opera  ubi  dictus  Lucas  comode  stare  possit  ad 
laborandum.  [Dclib.,  1336-1442,  c.  tj(.] 

35.  (P.  1274.)  1437,  Aprile  9. 

A Lucha  di  Simone  della  Robia,  maestro  d’intaglio,  fior.  L d’oro,  sono 
per  parte  di  paghamento  di  i°  perghamo  che  fa  a stanza  de  l’opera  di  marmo, 
a libro  segn.  D c.  179.  [Stans.,  DD,  c.  <5*f.] 

36.  (P.  1275.)  1437,  Aprile  18. 

Item  commiserunt  Niccolao  Johannotii  de  Biliottis,  uni  ex  offitio  dic- 
torum  operariorum,  et  Gualterotto  Jacobi  de  Riccialbanis  provisori  dicte 
opere,  revidendi  et  saldandi  rationes  locationis  facte  . . . Luce  Simonis 
della  Robbia  de  perghamo  marmoreo  figurato  facit  ad  instantiam  dicti 
offitii  . . . [Dclib.,  1436-1442,  c.  //.] 

37.  (P.  1276.)  1437,  Aprile  30. 

Item  deliberaverunt  quod  Batista  caputmagister  poliri  faciat  omnes 
figuras  que  sunt  miste  cum  marmore  opere  in  laborerio  dicte  opere  in  terra 
per  Lucam  Simonis  della  robbia,  et  postea  reponi  faciat  in  loco  pro- 
beminenti  ut  non  devastentur.  [Dclib.,  1436-1442,  c.  it?.] 

38.  (P.  1277.)  1437,  Agosto  30. 

Luce  Simonis  marci  della  Robbia,  magistro  intagli,  fi.  an.  triginta,  pro 
parte  solutionis  perghami  de  marmore  figurato  facit  ad  instantiam  opere. 
[Stans.,  E,  c.  7 ».]  ' 

39.  (P.  1278. ) 1437,  Ottobre  30. 

A Lucha  di  Simone  della  robbia  fior.  XL  do’ro,  per  parte  di  pagha- 
mento dun  perghamo  di  marmo  fighurato  e storiato  fa  a stanza  dell’  opera 
per  la  chiesa  maggiore.  [Stans.,  DD,  c.  23,—Cfr.  Stans.,  E,  c.  14  fi] 


LUCA  DELLA  ROBBIA 


23 


40.  (P.  1279.)  14 37,  Dicembre  19. 

A Lucha  tli  Simone  della  robbia,  maestro  d’intalglio,  fior.  CL  d'oro 
per  parte  di  paghamento  d’uno  perghamo  di  marmo  con  fighure  fa  a stanza 
dell’  opera  per  una  delle  due  sagrestie  della  chiesa  maggiore  di  Firenze 
com’  appare  a libro  del  proveditore  seg.  Dac.  . . . [Stans.,  DD,  c.  26  K — 
Cfr.  Stans.,  E,  c.  22.] 

41.  (P.  1280.)  1438,  Marzo  14. 

Prefati  operarii  deliberaverunt  quod  Filippus  ser  Brunelleschi  et  caput- 
magister  dicte  opere  teneantur  rumpi  facere  certain  partem  pilastri  sacristie 
in  qua  stare  [debeant]  becchatelli  perghami  marmoris  facti  per  Lucam 
Simonis  marci  della  Robbia  in  quo  poni  [dcbcnt]  orghana  ecclesie  prefate. 
[Delib.,  1436-1442,  c.  33.] 

4 2.  (P.  1281.)  1438,  Marzo  20. 

Item  simili  modo  deliberaverunt  quod  provisor  opere  scribat  ad  librum 
opere  in  creditorem  dicte  opere  Lucam  Simonis  marci  della  Robbia  pro 
infrascriptis  quantitatibus  pecunie,  videlicet:  pro  quinque  becchatellis  cum 
cimasiis  perghami  de  marmore  facti  in  ecclesia  maiori,  ad  rationem  fb  an. 
XVII  s.  IV  et  d.  II  ad  aurum  pro  quolibet  bechatello  cum  sua  cimasia;  et  ad 
rationem  fl.  XLV  s.  XIV  et  d.  Ill  ad  aurum,  pro  otto  venbris  acchanalatis 
et  basis  et  capitellis,  in  totum  . . et  ad  rationem  fl.  an.  IV  s.  Ill  et  d.  IV 
pro  una  cornice  grossa  cum  litteris  et  cum  denetellis,  in  totum  brachiorum 
14  et  unius  sexti  alterius  brachii,  pro  quolibet  brachio  . . . : et  ad  rationem 
fl.  an.  IV  pro  una  alia  cornice  grossa  sine  dentellis  alinguazata,  brachiorum 
14  et  quattuor  quintorum  brachii,  pro  quolibet  brachio  . . . : et  ad  rationem 
libr.  IV  unius  fregi  cum  litteris  bracchiorum  9 et  unius  tertii  [alterius] 
brachii  pro  quolibet  brachio  . . . : et  ad  rationem  libr.  Ill  et  s.  X pro  una 
cornice  que  vadit  . . .,  in  totum  brachiorum  6 et  unius  cpiarti  alterius  brachii, 
pro  quolibet  brachio  . . . : et  ad  rationem  soldorum  XVII  pro  una  correg- 
gina  marmoris  albi  brachiorum  12,  pro  quolibet  brachio  . . in  totum  . . .: 
in  totum  fl.  CCLXVI  et  s.  VIII  ad  aurum.  [Delib.,  1436-1442,  c.  33.] 

43.  (P.  1282.)  1438,  Aprile  30. 

A Lucha  di  Simone  della  Robbia  fior.  L d’oro  per  parte  del  perghamo 
a intalgliato.  [Stans.,  DD,  c.  32. — Cfr.  Stans.,  E,  c.  33  *.] 

44.  (P.  1283.)  1438.  Maggio  26. 

A Lucha  di  Simone  di  marcho  della  Robbia,  maestro  d’intalglio,  fior. 
XL  p.  per  parte  di  paghamento  del  perghamo  a fatto  nella  chiesa  maggiore. 
[Stans.,  DD,  c.  34  f. — Cfr.  Stans.,  E,  c.  39.] 

45.  (P.  1284.)  1438,  Giugno  5. 

A Nanni  di  Piero  del  Ticcio,  chonduttore  di  marmo  biancho,  f.  XXX  p. 
per  ristoro  di  pin  quantita  di  marmo  biancho  per  lui  chondotto  all’  opera 
dalla  chava  di  Charara  per  i°  perghamo  che  a fatto  Lucha  di  Simone  della 
Robia  nella  chiesa  magiore  di  Firenze  perche  detto  marmo  e stato  di 


24 


LUCA  DELLA  ROBBIA 


magiore  peso  e magiori  prezi  che  non  e l’altro  della  sua  condotta  e pero  e di 
pin  spesa.  [Stans.,  DD,  c.  f.] 

Nanni  Pieri  Ticcii,  conductori  marmoris  albi  opere,  f.  XXX  pro  restau- 
rationem  marmoris  pro  eum  conducti  ad  operam  pro  perghamo  facto  per 
Lucam  Simonis  marci  della  robbia  in  ecclesia  maiori  Rorentina,  considerato 
quod  maioris  expense  fnit  dictum  marmor  in  conducendo  eum  quia  erat 
maioris  ponderis  et  magis  ineptum  in  charichando  et  scharichando  dictum 
marmor  et  pro  omni  eo  quod  petere  posset  dictus  Nannes  pro  dicto  marmore 
et  hoc  vigore  declarationis  facte  per  Filippum  ser  Brunelleschi  et  Batistam 
Antonii,  capudmagistrum  opere.  [Stans.,  E,  c.  40  h] 

46.  (P.  1285.)  1438,  Agosto  28. 

A Luca  di  Simone  di  marcho  della  Robbia,  intalgliatore,  fior.  XLII  s. 
VIII  a oro,  i quali  danari  gli  si  danno  pe’  resto  d'intagliatura  e maestero 
del  perghamo  del  marmo  ch’e  posto  e murato  nella  chiesa  maggiore  sopra 
l'uscio  della  sagrestia  di  verso  i Servi.  [Stans.,  DD,  c.  ?p  f. — Cfr.  Stans., 
E,  c.  54*.] 

Item  stantiaverunt  Luce  della  Rohbia  R.  XLII  s.  VIII  pro  resto 
pergami.  [B.  scr  N.,  I,  c.  1 1 .] 


BIBLIOGRAPHY 

XVI  cent.,  Albertini,  10;  Anonimo  d.  Cod.  Magi.,  80,  310-311;  Billi,  45;  Vasari,  II,  170, 

XVII  cent.,  Bocchi-Cinelli,  59;  Del  Migliore,  25. 

XVIII  cent.,  Richa,  VI,  149. 

XIX  cent.,  Baldinucci,  V,  218;  Barbet  de  Jouy,  28;  Bode,  Kf,  6;  A.  S.  A.,  II  (1889),  3; 

Cavalluci  et  Molinier,  16-22,  215;  Cicognara,  IV,  236,  Tav.  22;  Marquand, 
Sc.  Mag.,  1S93,  692;  Perkins,  T.  S.,  193-194;  H.  H.,  139-140;  Reymond, 
D.  R.,  18-24;  Sc.  Flor.,  II,  184-186;  Rumohr,  II,  288-290;  Senneville, 
Gaz.  B.  A.,  IX  (1874),  1 34- 1 37 5 

XX  cent.,  Bode,  J.  k.  p.  K.,  XXI  (1900)  2-3;  Denkm.,  Taf.  194-199;  FI.  , Bildh.  108; 

FI.  Sc.  75,  PI.  35-37;  Brockhaus,  Z.  f.  b.  K.,  XIX  (1908),  161;  Burla- 
macchi,  13-16,  97  (Doc.),  107:  Cruttwell,  47-56,  286-291  (Doc.),  323; 
de  Foville,  23-32;  Doering-Dachau,  7-8,  Abb.  2-7;  Marrai,  A.  c.  S.,  XVIII 
(1899),  Jan.  15,  Feb.  10,  Mch.  5;  XIX  (1900),  13,  29;  A.  I.  D.  /.,  IX 
(1900),  82-84;  Marrai,  Cant.  (Doc.);  Prim.  (Doc.);  Michel,  IV,  72-74, 
Fig.  51;  Poggi,  It.  Forsch.,  II,  p.  cxxvi,  249-256  (Doc.);  Poggi,  Riv. 
d’Arte,  IV  (1906),  158;  Cat.  Mas.  Duomo,  33-34:  Reymond,  Gaz.  B.  A., 
XXIII  (1900),  429-433;  Schubring,  11-20,  Abb.  3-14;  Venturi,  VI,  546- 
552,  Figs.  363-369;  Waters,  188. 


LUCA  DELLA  ROBBIA 


2 TWO  NUDE  BRONZE  ANGELS.  Florence,  Duomo.  Now  Lost. 

Vasari  tells  us  that  on  the  cornice  of  the  cantoria  Luca  set  two  figures 
of  gilded  metal,  described  as  cingcli  midi,  condotto  molto  pulitamentc.  These 
are  mentioned  in  the  following  century  by  Bocchi  and  by  Del  Migliore  as  in 
the  same  position.  Bocchi  and  Del  Migliore  define  the  metal  as  bronze. 
As  these  figures  are  no  longer  known  to  exist,  and  even  the  cornice  on 
which  they  were  placed  has  been  destroyed,  we  may  assume  that  the  angels 
were  removed  in  1688  when  the  Cantoria  was  taken  down.  It  is  not  known 
what  became  of  them.  Nor  do  we  know  their  character.  Schubring 
assumes  that  they  were  candelabrum-bearing  angels,  but  Luca  and  his  fol- 
lowers never  represented  candelabrum-bearing  angels  as  nude.  Poggi  pub- 
lishes documents  (Nos.  1426-1428,  1438-1443)  to  the  effect  that  two 
trumpeting  angels  of  gilded  wood  were  ordered  of  Bertoldo,  sculptor,  in 
1485,  and  that  the  same  or  a similar  order  was  given  to  Bartolomeo 
d' Agnolo,  wood  carver,  in  1508.  Poggi  believes  that  these  were  the  angels 
referred  to  by  Vasari.  However,  the  documents  show  that  these  wooden 
angels  stood  not  on  the  cornice  of  the  cantoria,  but  on  the  organ  itself  (. super 
organo;  sopra  I'orghauo),  also  that  they  were  too  large  to  be  placed  on  the 
cornices  of  the  cantoria  ( altitudinis  brochiorum  duoruin  cum  dimidio  alterius 
bracchii;  grandi  quanto  natural c). 

BIBLIOGRAPHY 

XVI  cent.,  Vasari,  II,  170; 

XVII  cent.,  Bocchi,  59;  Del  Migliore,  25; 

XIX  cent.,  Baldinucci,  V,  218;  Bode,  Kf.  7; 

XX  cent.,  Burlamacchi,  17;  Cruttwell,  56;  Poggi,  CXXVIII.  Doc.  1426-1428,  1438- 

1443;  Schubring,  12,  19;  Venturi,  VI,  552. 

3 1 HE  FIGDOR  MIRROR.  Vienna,  Collection  of  Herr  A.  Figdor. 

Glazed  terra-cotta.  Total  diameter,  0.63  m.  Diameter  of  central 
mirror,  0.17  m.  Photo.,  Bruckmann. 

From  the  Boy  Collection,  Versailles,  passed  into  the  hands  of  Herr 
Figdor,  Vienna,  a very  charming  mirror  of  glazed  terra-cotta  (Fig.  20). 


2 6 


LUCA  DELLA  ROBBIA 


The  glazing  is  coarse  and  heavy,  lacking  the  purity  and  smoothness,  which 
characterizes  almost  all  of  Luca’s  glazes.  The  Visitation  at  Pistoia  is 
perhaps  the  only  other  work  of  Luca’s  in  which  such  coarse  glazing  occurs. 
If  one  studies  the  design  of  this  mirror,  there  can  be  little  doubt  that  it 
is  not  the  work  of  a copyist,  but  a sketch  dashed  off  by  the  artist  himself  at  a 


Fig.  20.  The  Figdor  Mirror. 


time  when  the  faces  of  the  boys  and  girls  of  the  Cantoria  were  still  fresh 
in  mind.  We  may  in  fact  recognize  faces  from  the  reliefs  of  the  Choral 
Dancers,  the  Players  on  the  Organ,  the  Tambourine  Players,  and  the 
Cymbal  Players.  Luca  shows  here  the  same  serious-minded  but  happy 


LUCA  DELLA  ROBBIA 


2? 


children,  treated  with  the  same  variety  of  expression  exhibited  in  the 
Cantoria.  The  comparison  may  he  carried  to  details : to  the  laurel  wreaths, 
the  floral  crowns,  the  varied  fillets,  the  wavy  hair. 

The  mirror  was  designed  to  be  hung  on  the  wall.  Hence  this  circle 
of  heads  has  a top  and  a base,  where  the  heads  are  accentuated.  But  the 
remaining  sixteen  heads  are  not  schematically  arranged.  The  composition 
is  asymmetric,  as  in  Luca's  fruit  and  flora]  frames.  We  also  note  the 
freedom  with  which  the  heads  are  related  to  the  frame.  Faces,  hands, 
garlands  infringe  upon  the  outer  mouldings  or  against  the  inner  laurel 
wreath.  This  peculiarity  may  also  be  observed  in  the  lower  series  of 
the  Cantoria  reliefs. 


BIBLIOGRAPHY 

Bode,  Denkm.,  177,  Taf.  548  A;  FI.  Bildh.,  164;  D'oering-Dachau,  22,  Abb.,  32. 


4 THE  VISITATION.  Pistoia,  S.  Giovanni  fuorcivitas.  H.,  1.55  m. ; 
W.,  1.50  m.  Photos.,  Alinari,  No.  10207-10208;  Brogi,  No.  4524- 
4525.  Burton  & Co. 

This  group  (Fig.  21)  is  known  to  have  been  in  the  church  of  S. 
Giovanni  fuorcivitas,  Pistoia,  as  early  as  October  11,  1445,  when  Monna 
Bice,  widow  of  Jacopo  di  Neri  de’  Fioravanti,  provided  a foundation  for 
the  purchase  of  oil  so  that  a lamp  could  be  kept  burning  before  it  night  and 
day.  The  document  relating  this  provision  for  the  group,  as  well  as  others 
from  the  archives  of  the  Compagnia  di  S.  Elisabetta  for  the  years  1507, 
1512,  1514,  1515,  1546,  and  1561  concerning  the  care  and  decoration  of  its 
tabernacle,  have  been  published  by  Dr.  Peleo  Bacci. 

As  one  of  the  earliest  groups  of  the  fifteenth  century  and  one  of  the 
few  examples  of  Robbia  statues  in  the  round  it  deserves  careful  study.  It 
stands  in  distinct  contrast  to  the  sixteenth  century  representations  of  the 
same  subject  on  the  Ceppo  Hospital  at  Pistoia  (1525),  in  S.  Stefano  at 
Lamporrecchio  (1524),  and  at  S.  Ansano  near  Fiesole,  in  being  more 
closely  related  to  marble  sculpture.  4 he  two  figures  are  set  upon  separate 
pedestals.  The  upper  and  lower  parts  of  their  bodies  are  cast  separately. 
Together  they  form  a compact,  pyramidal  group,  a compositional  type 
common  in  the  works  of  Luca  della  Robbia. 


28 


LUCA  DELLA  ROBBIA 


Unlike  the  sixteenth  century  Robbia  Visitations,  these  is  no  polychromy. 
Here  only  the  eyes  are  coloured  beneath  the  glaze.  There  are  traces  of 
gilding,  crudely  renewed  and  then  removed  in  modern  times,  on  the  hair 
and  borders  of  the  garments.  When  I first  saw  this  group  in  1892  I was 


Fig.  21.  The  Visitation. 


impressed  by  the  colouring  of  the  eves,  with  their  gray-blue  irises  bounded 
by  a line  of  purple-violet  and  surrounding  a purple-violet  pupil.  I soon 
learned  that  in  his  representations  of  the  eyes  of  the  Madonna,  Luca  gave 
to  them  almost  without  exception  gray-blue  irises.  It  may  be  noted 
that  on  the  Cantoria,  Luca  almost  invariably  carved  the  pupils  and  irises, 
occasionally  also  the  eyebrows,  but  not  the  eyelashes;  also  that  in 


LUCA  DELLA  ROBBIA  29 

1443  in  the  Resurrection  relief  the  eyebrows  and  lashes  are  not  marked  in 
colour,  as  they  were  in  1446-1451  in  the  Ascension  relief,  in  1448  in  the 
candelabrum-bearing  angels,  and  later  almost  invariably.  Andrea  della 
Robbia  preferred  to  give  the  Madonna  hazel  eyes.  We  need  recall  only 
the  yellow  irises  with  the  dark  pupils,  eyebrows,  and  eyelashes  over  the 
Cathedral  portal  at  Pistoia  (1505)  and  the  copper-coloured  irises  over  the 
Cathedral  portal  at  Prato  (1489).  The  followers  of  Andrea  were  not  so 
careful;  they  were  either  content  with  a black  spot  to  indicate  both  pupil 
and  iris,  or  left  the  iris  white. 

The  glaze  is  not  of  the  vitreous,  milky- 
white  character  described  by  Bacci,  nor  of 
the  fine  quality  described  by  Dr.  Bode  and 
Miss  Cruttwell.  It  is  coarse  and  thickly  ap- 
plied like  that  of  the  Figdor  mirror  frame  in 
Vienna,  and  spotty,  like  that  of  S.  Taddeo  in 
the  Pazzi  Chapel,  not  like  the  thin  glazes  of 
the  early  sixteenth  century  so  well  repre- 
sented at  Pistoia. 

If  we  examine  the  group  in  detail  we 
shall  find  many  striking  relationships  to 
Luca's  early  work.  The  Virgin  wears  a ker- 
chief wound  about  her  head,  similar  in  fash- 
ion to  that  of  one  of  the  cithara  players 
and  two  of  the  drummers  of  the  Cantoria 
(1431-1438),  and  to  a female  head  on  the 
bronze  doors  of  the  Sacristy,  not  unlike  the 
turbans  which  Ghiberti  exhibits  so  frequent- 
ly, but  quite  different  from  the  veils  and 
shawls  used  by  Andrea  della  Robbia  and  his 
sons  to  cover  the  head  of  the  Virgin.  The  waving  hair,  the  little 
ringlets  on  the  cheek,  and  the  large  lobe  of  the  ear  are  seen  also  in  the 
cithara  players.  I he  shape  of  the  head,  whether  seen  in  profile  or  in 
full  face  (Fig.  22)  would  lead  us  to  believe  that  Luca  had  before  him 
the  same  model  as  he  had  when  he  carved  the  Cantoria.  The  heavy 
drapery  with  its  long  sweeping  folds  finds  its  closest  analogies  in  early 
and  middle  fifteenth  century  sculpture — in  Luca’s  Cantoria,  his  Ascen- 


30 


LUCA  DELLA  ROBBIA 


sion  relief  and  his  candelabrum-bearing  angels.  Even  the  ruffle  about  the 
Virgin’s  neck  is  a detail  of  costume  to  be  found  in  several  of  Luca’s  early 
Madonnas:  in  the  lunette  from  S.  Pierino,  in  the  recently  acquired  lunette 
in  the  Berlin  Museum,  and  in  the  Madonna  from  S.  Maria  Nuova,  now  in 
the  Museo  Nazionale.  Such  a ruffle  seems  to  have  been  no  longer  worn 
in  the  latter  half  of  the  century,  as  it  does  not  occur,  except  as  a diminutive 
band,  in  the  works  of  Andrea  della  Robbia  and  his  followers. 

S.  Elisahetta  is  on  her  knees,  as  she  was  represented  by  Taddeo 
Gaddi,  but  less  frequently  in  later  Visitations.  Both  she  and  the 
Virgin  are  here  conceived  in  simpler  terms  than  are  the  praying  woman 
and  the  Virgin  in  Andrea’s  beautiful  altarpiece  in  the  Osservanza  near 
Siena.  Peleo  Bacci,  blind  to  the  expressive  character  of  the  group  as  a 
whole,  calls  attention  to  the  left  arm  of  S.  Elizabetta  as  an  example  of  the 
crude  modelling  indicative  of  the  decadence,  when  Benedetto  Buglioni  was 
the  leading  spirit  of  the  Robbia  school.  I do  not  recall  any  parallel  to  this 
in  the  works  which  may  be  attributed  to  Benedetto  or  Santi  Buglioni.  But 
Luca  himself  in  the  Logic  and  in  the  Tubalcain  reliefs  of  the  Campanile 
(1437-1439)  has  portrayed  thick  arms  and  very  broad  sleeves.  This 
arm  of  S.  Elisahetta  may  certainly  he  cited  as  a defect  in  modelling,  but  like 
the  defects  in  the  Campanile  reliefs,  it  sinks  into  insignificance  before  the 
impressive  beauty  of  the  group.  We  forget  the  arm  of  S.  Elisahetta,  and 
think  only  of  her  adoring  spirit  about  to  break  forth  into  the  song, 
“Blessed  art  thou  among  women,  and  blessed  is  the  fruit  of  thy  womb,” 
and  of  the  suppressed  joy  of  the  Virgin,  about  to  sing  in  response,  “My 
soul  doth  magnify  the  Lord  and  my  spirit  hath  rejoiced  in  God  my 
Saviour”  (St.  Luke  I.  46-55). 


DOCUMENTS 

[Document  No.  1,  copied  by  Signorina  Eugenia  Levi,  is  here  published 
in  full  for  the  first  time:  the  remaining  documents  are  quoted  from 
Dr.  Peleo  Bacci,  II  Gruppo  Pistojesc  della  Visitazionc,  gid  attribuito  a Luca 
della  Robbia.  Florence,  1906.] 

] . MCCCCXLV.  Die  1 1 mensis  octobris. 

Dom.  Bicie  Dna  bicie  olim  uxor  Jacobi  Nerij  de  floravantibus 

de  fioravante.  vidua  de  pistorio  volens  provvidere  saluti  anime  sue, 

amore  dej  et  inrevocabiliter  donavit  atque  dedit  et  ottulit 
sotietati  visitationis  virginis  marie  ad  Sanctam  elisabectam  sitarn  in  ecclesia 
S.  Johanni  forcivitas  et  domino  laurentjo  christoforj  priorj  ecclesie  S.  Job. 


LUCA  DELLA  ROBBIA 


31 


forcivitas  et  dignissimo  chanonicho  chattedralis  ecclesie  pistoriensis  et 
rectori  sotietatis  visitationis  virginis  Marie  ad  sanctam  elisabectam  sitam 
in  dicta  ecclesia  S.  Johannis  et  predicta  sotietate  recipere  omni  anno  in 
perpetuum  de  mense  Januarij  in  anno  domini  MCCCCXLVJ  proximo 
veniente  imam  qnartinam  et  dimidiam  alie  qnartine  olej  dnlcis  et  clari  j de 
quo  voluit  in  perpetuum  die  noctuque  ardere  debet  ivnam  lampadem  ad 
onorem  dei  virginis  marie  coram  figura  virginis  Marie  Sancte  Elisabet 
visitationis  earum  in  ecclesia  S.  Johanni  forcivitas  predicte.  Cum  hoc 
expresso  et  declarato  per  ipsa  domina  bicie  et  eius  lieredes  possit  et  possint 
ad  earum  voluntatem  a dicta  sotietate  visitationis  redimere  at  pretium  ah 
ea  vel  suis  heredibus  depraedicta  recipiendum  pro  dicta  sotietate  spendi 
debeat  in  alio  affictu  olei  ad  sufficiente  ad  dictam  lampadem  ardendum  lit 
supra  et  dittos  d.  laurentius  convenit  etc.  One  omnia  etc.  promisit  et  sub 
poena  librarian  C etc.  obligavit  et  ren.  etc.  Rog.  etc.  Actum  pistorij  in 
ecclesia  S.  Johannis  predicte  presentibus  presbitero  Nardo  Perfecti  et  presbi- 
tero  piero  bartholomei  Gherardi  omnibus  de  pistorio  feliciter. 

Archivio  del  Patrim.  eccl.  di  Pistoia.  Compagnia  di  S.  Elisabctta 
Testamenti,  cod.  C,  n.  160,  c.  5*. 

2.  A di  22  Settembre,  1507. 

Alla  Chompagnia  soprascritta  a di  22  dito  [Settembre,  1507]  per  con- 
tanti  lire  tre  per  bracia  sei  di  velo  per  metere  alia  hgura  di  santa  Lissabetta 
1.  3.  s — . 

Archivio  del  Patrim.,  etc.  Giornale  1503-1509,  Cod.  C,  n.  1,0.31'. 


3.  A di  22  di  Luglio,  1512. 

A uscita  generale  a di  soprascritto  per  braccia  XII  di  tela  cilestra  per 
fare  una  tenda  a santa  Elisabetta  e den.  8 per  refe  in  tutto  1.  4,  s.  12,  8. 

Archivio  del  Patrim.,  etc.  Giornale,  etc.,  c.  79. 

4.  A di  9 di  Maggio,  1513. 

Item,  considerato  e auta  buona  relatione  che  qualche  divota  persona 
vuole  fare  lino  tabernaculo  et  ornamento  alia  nostra  santa  Helisabetta  et 
perche  tale  spesa  e pure  di  buona  soma,  servatis,  etc.,  per  loro  partito 
obtenuto  per  fave  43  n[ere]  per  si  et  fave  3 bianche  per  non,  deliberorno,  e 
deliberando  anctorita  dettono  et  concesseno  a Vincentio  di  ser  XTic.°  Politi 
et  a Bartolomeo  di  m.°  Jacopo  Zeloni,  due  delli  huomini  di  detta  Compagnia, 
di  potere  circa  a questo  spendere  per  insino  alia  somma  e cjuantita  di  fior. 
tre  larghi  d’oro  e tanti  debba  pagare  alloro  poliza  el  camarlingo  di  detta 
Compagnia  e tanti  li  sia  admessi  da  suoi  ragioneri. 

Archivio  del  Patrim.,  etc.  Atti  1511-1530,  cod.  C,  n.  145,  c.  2 

5.  A di  24  di  detto  [aprile,  1514]. 

A uscita  generale  a di  soprascritto  lib.  XII I J"  a Schalabrino  di 
P.'Jiero]  di  Stefano  dipintore  posto  lui  per  parte  di  dipintura  del  taber- 
nacholo  dell’  altare  1.  14,  s. — . 

A libro  a c.  15  t. 

Archivio  del  Patrim.,  etc.  Giornale  1503-15 19,  cod.  C,  No.  1.  c.  95. 


32 


LUCA  DELLA  ROBBIA 


6.  A di  primo  d’ottobre  [1514]. 

A uscita  di  denari  generale  a di  soprascritto  lib.  17  sol.  10  dati  a Giova- 
batista  dipintore  per  xonto  del  tavernacholo  di  santa  Lisabetta.  L.  17,  s.  10. 
Libro  c.  155. 

Archivio  del  Patrim.,  etc.  Giornale,  etc.,  c.  100. 

7.  A di  5 di  Febbraio,  1525. 

Di  poi  detto  di,  doppo  le  soprascritte  cose  e congregati  come  di  sopra, 
Nicolao  di  Giuliano  Godemini,  uno  del  numero  di  detta  Compagnia  e si  levo 
in  pie’,  e al  luogo  solito  e consueto  in  detta  Compagnia,  in  luogo  di  ringhiera, 
disse  expuose  e narro  che  essendo  Ini  consueto  ogni  anno  fare  e celebrare 
fare  la  festa  di  sancto  Niccolo  acldi  6 di  dicembre  ogni  anno  nella  chiesa  di 
sancto  Giovanni  forcivita  alio  altare  intitolato  di  Sancta  Anna  al  lato  alia 
porta  di  detta  chiesa  che  mette  ine  chrosti  e essendo  anco  devoto  della 
nostra  sancta  Lisabetta  e havendo  afifettione  alia  nostra  Compagnia,  detto 
Niccolo  dava  e si  offerisce  di  dare  e pagare  a detta  Compagnia  di  sancta 
Lisabetta  lib.  dugento  di  denari  spiccioli  delle  quali  se  ne  debbe  spendere  lib. 
50  den.  in  ornamento  della  cappella  overo  tabernaculo  di  sancta  Lisabetta 
per  detta  e in  detta  Compagnia,  e oltra  dette  lib.  50  spendere  in  ornamento  e 
aconcime  predetto  in  buona  forma  quella  quantita  di  sua  denari  ch’  a llei 
parra,  etc. 

Archivio  del  Patrim.,  etc.  Atti,  etc. 

8.  A di  14  di  Maggio,  1525. 

E soprascritti  officiali  didetta  Compagnia  di  sancta  Lisabetta,  congre- 
gati insieme  in  bottegha  della  mia  solita  residentia,  absente  Cosirno  Fabroni 
loro  compagno,  servatis,  etc.,  per  loro  partito  obtenuto  per  fave  tre  nere  per 
si  deliberorono  e feceno  che  el  camarlingo  di  sancta  Lisabetta  predetta,  dia 
e paghi  a Giuliano  di  m°.  Bartolomeo  scarpellino  da  Firenze  lib.  50  den. 
de’  denari  di  detta  Compagnia  per  conto  dello  ornamento  di  detta  cappella 
di  sancta  Lisabetta  e tanto  li  sia  ammesso  da’  suoi  ragionieri. 

Item,  per  loro  partito  detteno  autorita  a Michele  Fioravanti  loro 
compagnio,  quanto  hanno  tutti  e’  compagni,  di  mandare  ad  effetto  detto 
ornamento  e di  far  fare  pagamento  e tutto  quello  bisogni  circha  le  predette 
cose. 

Archivio  del  Patrim.,  etc.  Atti,  etc. 

9.  In  1546  it  was  ordered  that  the  sacristan,  “sia  anchor  tenuto  e obli- 
gato tener  coperta  la  figura  della  Nostra  Donna  a maggior  divotione  di 
quella,  salvo  che  nelli  di  solenni  e paschali,  sotto  il  gravamento  della  sua 
conscientia.” 

Archivio  del  Patrim.,  etc.  Atti,  cod.  C,  n.  152,  c.  10  l. 

10.  The  same  provision  was  repeated  in  1561  : “Sia  anc’  obligato  a 

tener  coperta  1’  altare  et  la  figura  della  Nostra  Donna  et  santa  Lisabetta,  a 
maggior  devotione  di  quella,  eccetto  che  ne'  giorni  solenni  e pascali.’’ 

Archivio  del  Patrim.,  etc.  Atti,  cod.  C,  n.  158,  c.  45. 

BIBLIOGRAPHY 

XIX  cent.,  Barbet  de  Jouy,  90;  Baedeker,  N.  Italy,  1889,  368;  Bode,  Kf.  20,  It.  Bildli., 
84;  Cavallucci  et  Molinier,  243,  No.  233;  Marquand,  A.  J.  A.,  IX  (1894), 


LUCA  DELLA  ROBBIA 


33 


1 1 - 1 2,  PL  4;  Milanesi,  II,  197;  Murray,  Central  Italy,  1892,  125;  Rey- 
mond,  D.  R.,  180-181,  Sc.  FL,  III,  164-165. 

XX  cent.,  Bacci,  II  Gruppo  pistoiese  della  Visitacione,  1-20,  Frontisp.;  Balcarres, 
159,  Fig.  77;  Bode,  J.  k.  p.  K.,  XXI  (1900),  32;  Dcnkm.,  80,  Taf.  232; 
FI.  Bildh.,  150-152;  Abb.  83;  FI.  Sc.  112,  PI.  52;  Kunstchr.,  XVIII  (1907), 
No.  31;  Cruttwell,  Frontisp.,  96-97,  324;  Fabriczy,  Rep.  f.  K.,  XXIX 
(1906),  47;  Fabriczy,  Rep.  f.  K.,  XXX  (1907),  285-286;  de  Foville,  104, 
105;  Doering-Dachau,  27,  Abb.  43;  Giglioli,  81-85;  Gronau,  Monatsh.  d. 
Kunstw.  Lit.,  Ill  (1907),  2-3;  Marquand,  A.  J.  A.,  XI  (1907),  36-41,  PI.  6; 
A.  a.  P.,  V (1914),  79-85;  A.  a.  A.,  I (1914),  21-26;  Michel,  IV,  125 
Fig.  92;  Rabizzani,  B.  S.  P .,  X (1908),  No.  1;  Schubring,  87-89,  Abb. 
97-98;  Venturi,  VI,  593-594,  Fig.  398;  L’Arte,  1905,  151;  Waters,  190. 


5 COLOSSAL  HEAD.  Florence,  for  the  cupola  of  the  Duomo.  1434. 

Probably  never  executed. 

In  1434  when  Luca  della  Robbia  and  Donatello  were  engaged  upon 
the  two  cantorie,  each  was  commissioned  to  model  for  the  Cathedral  a head, 
the  one  selected  as  the  best  and  most  beautiful  to  be  executed  and  placed  in 
the  gula  of  the  dome.  During  this  year  the  dome  was  nearing  completion 
although  the  surmounting  lantern  was  not  finished  until  some  years  later. 
The  gula  is  apparently  defined  as  the  clausiira,  the  closing  section  or  inner 
summit  of  the  dome.  A decorative  head  at  this  point  must  have  been  of 
colossal  proportions  to  be  seen  from  below.  It  may  have  been  the  intent  of 
the  commission  to  have  it  executed  in  stone  or  marble,  as  Milanesi  and 
Bode  believe.  Schubring  suggests  that  a mask  of  bronze  would  have  been 
more  practical.  He  also  supposes  that  a gigantic  tondo  at  this  point  of  the 
dome  could  only  have  contained  a head  of  God  the  Father.  Whatever  the 
intended  material  or  subject,  this  head  seems  never  to  have  been  executed. 


DOCUMENT 

[Quoted  from  Cruttwell,  291,  Doc.  III.] 

1434.  “Nobiles  viri  . . . operarii  . . . deliberaverunt  quod  Donatus 
Nicolai  aurifex  intagli  et  Lucas  Simonis  Marci  della  Robbia  quilibet  eorem 
facere  teneatur  tin  am  testam  ...  in  formam  modelli  prout  eis  et  cnilibet 
eorum  videbitur  melius  et  pulcbrius  predicta  opera  pro  fieri  faciendo  postea 
in  gula  clausura  cupola  magne  in  lapidibus  dicte  gule  unam  testam  sue  for- 
mam modelli  capiendi  per  eorum  officium  ex  pulcrioribus  cjuas  facient  pro 
dicto  modello  et  hoc  quantum  melius  fieri  potuerit  et  expensis  ipsius  opere.” 
— (Deliberazione  dei  Consoli  e Operaj.) 

BIBLIOGRAPHY 

Bode,  Kf.,  7;  Burlamacchi,  17,  96;  Cavallucci,  S.  M.  F.,  II,  136;  Cruttwell,  18,  276, 
291  (Doc.),  Semper,  Rcgesten,  283,  No.  34  (Doc.)  ; Venturi,  VI,  556. 


34 


LUCA  DELLA  ROBBIA 


6 THE  CAMPANILE  MARBLE  RELIEFS.  Florence.  Campanile  del 

Duomo.  1437-1439.  Marble.  Photos.,  Alinari,  Nos.  2019-2023; 

Brogi,  Nos.  4179-4183. 

The  Campanile,  or  Bell  Tower,  adjoining  the  Cathedral  of  Florence 
was  designed  by  Giotto  in  1334.  After  his  death  in  1336  the  building 
was  continued  by  Andrea  Pisano,  and  completed  by  Francesco  Talenti.  It 
is  divided  into  a series  of  horizontal  zones,  two  of  which  are  decorated  by 
sculptured  reliefs.  The  lower  series,  in  hexagonal  frames,  is  the  finer  in 
execution,  and  is  attributed  to  Giotto  and  Andrea  Pisano.  Five  of  these 
hexagonal  spaces  on  the  north  side  of  the  Campanile,  facing  the  Cathedral, 
were  left  unfilled  until  on  May  30,  1437,  the  order  was  given  to  Luca  della 
Robbia  to  make  for  them  storias  mcirmoris,  for  which  he  received  final 
payment  on  March  10,  1439,  at  the  rate  of  20  florins  each. 

The  Campanile  reliefs  as  a whole  set  forth  the  arts  and  sciences : 
Architecture,  Sculpture,  Painting,  Pottery,  Weaving,  Metallurgy,  Agri- 
culture, Commerce,  Law,  Music,  Astronomy,  Geometry,  etc.  The  scheme 
seems  to  have  been  more  or  less  casual,  and  so  far  as  the  documents  show 
Luca  della  Robbia  was  not  compelled  to  complete  a definite  scheme,  but 
was  free  to  select  his  own  subjects.  It  is  not  easy  to  correlate  the  subjects 
of  these  reliefs  with  those  already  represented.  Luca  evidently  designed 
these  reliefs  in  harmony  with  those  already  in  place,  but  he  had  before  his 
mind  no  definite  scheme  such  as  that  of  representing  the  Trivium  and 
Quadrivium.  Music,  Astronomy,  and  Geometry  were  represented  already, 
and  there  remained  Grammar,  Logic,  Rhetoric,  and  Arithmetic,  not 
enough  to  fill  five  hexagons.  Even  if  we  suppose  that  he  represented  all 
seven  of  the  Liberal  Arts,  combining  Logic  with  Rhetoric,  and  Geometry 
with  Arithmetic,  it  is  still  difficult  to  interpret  the  final  relief  as  Astronomy. 
The  mind  of  the  early  fifteenth  century  was  not  rigid  and  schematic,  but 
was  struggling  to  move  in  new  channels. 


(1).  Grammar.  Photos.,  Alinari,  No.  2019;  Brogi,  No.  4179. 

In  this  relief  a serious-minded  teacher — by  Vasari  called  Donatus — - 
is  at  his  desk  explaining  some  rules  to  two  boys  (Fig.  23).  In  the 
background  is  an  open  portal,  probably  to  suggest  that  Grammar  is  the 
door  of  knowledge.  One  of  the  boys  holds  a book  on  his  lap;  the  other 


LUCA  DELLA  ROBBIA 


35 

is  absorbed  in  taking  notes.  These  boys  are  not  unlike  those  of  the  Can- 
toria.  We  may  note  that  the  door  of  the  schoolroom  slopes  downward, 
so  that  the  feet  of  the  figures  are  visible  to  a spectator  standing  below  the 
reliefs.  This  downward  sloping  base  Luca  used  in  many  other  reliefs.  In 


Fig.  23.  Grammar. 


the  triangular  exergue,  made  by  this  base  with  the  lower  angle  of  the 
hexagon,  is  a fluted  disk,  a motive  often  repeated  by  Luca.  The 
simple  mouldings  which  surround  the  Campanile  reliefs  resemble  those 
on  the  lower  series  of  the  Cantoria. 

(2).  Logic.  Photos.,  Alinari,  No.  2020;  Brogi,  No.  4180. 

Here  two  men  in  classic  costume — by  Vasari  called  Plato  and  Aristotle 
— are  engaged  in  active  dispute  (Fig.  24).  The  younger  points  to  the  text 
of  an  open  book  while  the  older  man  argues  against  him  with  energy.  The 
mantles  are  heavy,  but  exhibit  peculiarities  similar  to  those  in  the  Cantoria 
reliefs.  These  tunics  have  broad  sleeves.  The  older  man  is  awkwardly 


36 


LUCA  DELLA  ROBBIA 


posed,  with  the  extraordinary  defect  of  having  a left  foot  attached  to  his 
right  leg.  The  exergue  is  ornamented  with  a rosette  and  trefoils. 


Fig.  24.  Logic. 


(3).  Music.  Photos.,  Alinari,  No.  2021  ; Brogi,  No.  4181. 

A musician,  Orpheus,  is  seated  in  a grove  charming  birds  and  beasts 
by  his  song  (Fig.  25).  Vasari  characterizes  this  as  a lute-player  represent- 
ing Music.  This  seems  an  obvious  interpretation  and  has  many  advocates. 
On  the  other  hand,  von  Schlosser,  d'Ancona,  and  Poggi,  finding"  Music 
represented  in  Luca’s  final  relief,  interpret  this  one  as  Rhetoric  or  Poetry. 
This  accords  with  the  theory  that  Luca  was  systematically  attempting  to 
represent  the  Liberal  Arts.  It  is  difficult,  however,  to  find  here  a symbol 
of  Rhetoric  or  even  of  Poetry.  Lyric  Song,  as  Miss  Cruttwell  puts  it,  is  a 
happier  designation.  Instrumental  music  had  already  been  represented 
in  one  of  the  older  reliefs  of  this  series,  by  a figure  of  Jubal,  the  inventor  of 
musical  instruments.  This  for  Luca  della  Robbia  told  but  half  the  story. 
He  seems  to  have  felt  that  human  song  has  greater  charm.  Orpheus,  pro- 


LUCA  DELLA  ROBBIA 


37 

vided  with  a large  cithara  or  lute,  holds  the  rapt  attention  of  an  eagle,  a 
hawk,  a duck,  a goose,  two  herons,  two  doves,  and  also  of  a boar,  a lion 
and  lioness,  a dog  or  wolf  howling,  and  two  indeterminate  animals.  Orange, 
palm,  and  olive  trees  furnish  a picturesque  background.  At  the  base  of 


Fig.  25.  Music. 


the  relief  is  a large  flower,  and  not  far  away  a plant,  breaking  the  uniformity 
of  the  rocks  on  which  Orpheus  is  seated. 

(4).  Arithmetic.  Photos.,  Alinari,  No.  2022 ; Brogi,  No.  4182. 

Here  are  represented  two  Orientals,  bearded,  turbanecl,  clad  in  em- 
broidered robes,  and  wearing  scarfs  (Fig.  26).  Both  appear  to  be  counting, 
one  with  the  assistance  of  a slate,  the  other  aided  only  by  his  fingers.  They 
form  a simple  composition,  in  contrast  with  the  more  energetic  pair  repre- 
senting Logic.  Possibly  these  reliefs  suggested  to  Donatello  the  variety 
of  expression  to  be  drawn  from  two  figures, — a theme  which  he  played 
with  many  variations  on  the  sacristy  doors  of  San  Lorenzo.  We  note 
in  the  ornamented  robes  Luca's  fondness  for  rosettes — in  some  cases  repre- 


38 


LUCA  DELLA  ROBBIA 


senting  them  as  seen  a tergo,  as  in  the  decoration  of  the  Cantoria.  The 
ground  on  which  the  Orientals  stand  has  a distinct  downward  slope,  and 


Fig.  26.  Arithmetic. 


the  exergue  is  filled  with  a floral  scroll,  which  recalls  those  on  the  consoles 
of  the  Cantoria. 

(5).  Tubalcain  or  Harmony.  Photos.,  Alinari,  No.  2023;  Brogi 
No.  4183. 

The  interpretation  of  this  relief  is  not  self-evident.  If  we  assume  that 
the  preceding  relief  is  the  one  Vasari  calls  Euclid  or  Geometry,  then  this 
is  his  Ptolemy  or  Astrology,  or  if  he  follows  the  order  of  the  reliefs  as 
they  are  placed  on  the  Campanile,  the  preceding  one  is  for  him  Ptolemy 
and  this  one  Euclid.  It  is  difficult,  however,  to  see  in  this  old  man  with  his 
anvil  and  hammers  either  Ptolemy  or  Euclid  (Fig.  27).  Modern  writers 
are  almost  unanimous  in  calling  him  Tubalcain.  It  is  not  as  the  father  of 
Metallurgy  that  he  is  here  represented.  He  has  struck  his  anvil  with  one 


LUCA  DELLA  ROBBIA 


39 


hammer,  then  with  another,  and  is  attentively  listening  to  the  resultant 
harmony.  If  this  be  Music,  it  is  the  theory  of  Music  or  of  Harmony 
that  is  indicated.  Perhaps  as  Miss  Cruttwell  suggests,  it  expresses  a 
wider  or  Universal  Harmony. 


Fig.  27.  Tubalcain. 


Several  writers  speak  of  this  relief  as  more  archaic  than  the  rest,  and 
von  Schlosser  and  d’Ancona  reject  its  attribution  to  Luca.  There  can  be 
no  question  that  this  is  one  of  the  five  reliefs  ordered  of  Luca  della  Robbia. 
In  conception  it  is  the  subtlest  of  the  series  and  in  treatment  it  is  charac- 
teristic of  Luca.  The  heavy  sleeves,  the  simple  folds  resemble  those  of 
the  Pistoia  Visitation;  the  bench  with  its  mouldings  is  like  the  benches 
on  which  Luca's  Madonnas  are  seated ; the  mouldings  recall  the  frames  of 
the  lower  series  of  the  Cantoria,  and  the  wreath  of  laurel  and  roses  in  the 
exergue  reminds  us  of  the  wreath  about  the  neck  of  the  central  tambourine 
player — one  of  the  latest  of  the  Cantoria  reliefs.  It  is  indeed  strange  that 
Luca  should  have  made  the  left  hand  of  this  figure  so  disproportionately 
large.  He  seems  to  have  been  intentionally  archaic  in  order  to  accommodate 
his  reliefs  to  those  of  earlier  date. 


40 


LUCA  DELLA  ROBBIA 


DOCUMENTS 

[Quoted  from  Poggi,  Ital.  Forsch.,  II,  58.] 

1.  (Poggi,  No.  325.)  1437,  30  di  Maggio. 

Item  locaverunt  Luce  Simonis  della  Robbia  ad  faciendum  storias 
marmoris  que  deficiunt  in  campanili  maioris  ecclesie  florentine  pro  eo  pretio 
quod  declarabitur  per  eorum  offitium.  \Delib.,  1436-1442,  c.  18.] 

2.  (No.  326.)  1438,  2 di  Dicembre. 

A Lucha  di  Simone  dellarobbia.  intagliatore,  f.  XXX  doro  per  parte 
di  paghamento  di  certti  chonpassi  che  fa  di  marmo  a stanza  dell’  opera  che 
s'anno  a metere  nel  chanpanile,  libro  s.  D c.  345.  [Stans.,  DD,  c.  44. — Cfr. 
Stans.,  E.  c.  66(cB.  scr  N.,  I °,  c.  27.] 

3.  (No.  327.)  1439,  10  di  Marzo. 

A Lucha  di  Simo  della  Robia,  intagliatore,  f.  LXX  doro  sono  per  resto 
di  f.  C.  doro  e'  quali  danari  allui  si  danno  per  resto  di  paghamento  di  cinque 
storie  di  marmo  per  lui  fatte  e intagliate  a stanza  della  opera,  le  quali  s’anno 
a metere  nel  chanpanile  dalla  parte  di  verso  la  chiesa,  per  pregio  di  f.  XX 
dell’  una,  a libro  s.  D c.  345.  [ Stans DD,  c.  5/. — Cfr.  Static.,  E,  c.  79  '.] 

4.  (No.  328.)  1439,  adi  27  di  Giugno. 

Item  quod  medium  compassum  campanilis  actetur  prcnit  videbitur 
Joanni  Minerbetti.  [B.  scr  N.,  I , c.  34  7] 

Marrai,  Cantorie,  7-8,  note  7,  gives  a Latin  version  of  Poggi's  No. 
326  in  which  Luca  is  said  to  have  been  paid  30  florins  “pro  parte  sui 
magisterii  compassuum,  quos  facit  pro  mectendo  in  nolario  maioris  ecclesie 
Sancte  Marie  del  Fiore’’  (Stans.,  E,  c.  66 ; also  a Latin  version  of 
Poggi’s  No.  327,  that  the  70  florins  “sunt  pro  pretio  fl.  centum,  quos  den. 
debet  habere  pro  pretio  solutionis  quinque  storiarum  marmoris  factar.  et 
intagliatar.  per  eum  . . . pro  ponendis  Campanili  . . . partibus  proxime 
Sante  Reparate”  (Stans.,  E,  c.  79  f.). 


BIBLIOGRAPHY 

XVI  cent.,  Vasari,  II,  169;  Anonimo  d.  Cod.  Magi.,  311  (Doc.)  ; 

XVIII  cent.,  Richa,  VI,  66; 

XIX  cent.,  Baldinucci,  V,  218;  Bode,  Kf„  7;  A.  S.  A.,  II  (1889),  3;  Cavallucci  II,  136 

(Doc.);  Cavallucci  et  Molinier,  23-27;  Perkins,  T.  S.,  I,  192-193 ; H.  H., 
139;  Reymond,  D.  R.,  24-26,  Sc.  Flor.,  II,  187; 

XX  cent.,  d’Ancona,  L'Arte,  V (1902),  223-227,  271;  Bode,  /.  k.  p.  K.,  XXI  (1900), 

3,  Denhm.,  58,  Taf.  201-202,  FI.  \Bldh.,  109,  FI.  Sc.,  76;  Burlamacchi, 
17-18;  Cruttwell,  19,  56-61,  291  (Doc.),  323;  de  Foville,  21,  37;  Doering- 
Dachau,  9,  Abb.  8-12;  Michel,  IV,  75;  Poggi,  LX,  58  (Doc.);  Ruskin 
XXIII,  430-435;  von  Schlosser,  62-63,  72- 73;  Schubring,  20-27,  Abb.  18- 
23;  Venturi,  VI,  557,  Fig.  373;  Waters,  189. 


LUCA  DELLA  ROBBIA 


41 


7 THE  MARBLE  ALTAR  OF  S.  PIETRO.  Two  marble  reliefs.  (1) 
Deliverance  of  S.  Pietro.  (2)  Crucifixion  of  S.  Pietro.  Florence, 
Museo  Nazionale,  Nos.  219,  201.  1439.  (1)  H.,  0.69  m. ; B., 

0.78  m.  (2)  H.,  0.69  m. ; B.,  0.68  m. 

On  the  sixth  of  April  1439  Donatello  was  commissioned  to  make 
marble  altars  for  two  of  the  fifteen  apsidal  chapels  of  the  Cathedral,  hut  did 
not  undertake  them.  Presumably  this  order  was  transferred  to  Luca  della 
Robbia  as  we  find  him  receiving  a similar  commission  on  April  12,  1439. 
Both  artists,  however,  seem  to  have  furnished  models,  for  on  April  20 
Luca  was  directed  to  make  a marble  altar  for  the  chapel  of  S.  Pietro, 
according  to  a wooden  model,  which  presumably  he  himself  had  made, 
and  another  for  the  chapel  of  S.  Paolo,  according  to  a wax  model  furnished 
by  Donatello.  With  the  exception  of  two  reliefs,  neither  altar  appears  to 
have  been  executed,  but  we  gather  that  they  were  to  have  been  alike  in 
form,  for  one  of  the  S.  Pietro  reliefs  which  remains  to  us  shows  two 
heavy  columns,  leaving  us  to  infer  the  existence  of  a second  pair  of 
columns,  and  Donatello’s  model  was  for  an  altar  super  qiicituor  colonnis. 
The  suggestion  made  by  Signor  Castellncci  and  Dr.  Marrai  (Cruttwell, 
56,  note  1 ) that  these  two  altars  still  exist— one  in  the  chapel  on  the  north 
side  of  the  High  Altar  and  the  other  in  the  Cappella  della  Concezione — is 
improbable,  since  these  altars  are  set  not  on  columns,  but  on  coupled  pilasters 
and  are  known  to  have  been  made  in  1447. 

In  1823  C.  F.  von  Rumohr  discovered  in  a storeroom  of  the  Opera  del 
Duomo  two  marble  reliefs  of  the  Deliverance  and  Crucifixion  of  S.  Pietro. 
He  recognized  them  as  by  Luca  della  Robbia,  and  was  much  gratified  a few 
weeks  later  to  find  his  attention  substantiated  by  the  discovery  of  the  docu- 
ments of  1439.  The  reliefs  were  placed  on  exhibition  in  the  Uffizi,  where 
they  remained  until  transferred  to  the  Museo  Nazionale. 

(1).  Deliverance  of  S.  Pietro.  Photos.,  Alinari,  No.  2707;  Brogi, 
No.  9418. 

Here  is  represented  S.  Pietro  in  prison  and  his  deliverance  by  the 
Angel,  described  in  Acts,  XII,  1-11  (Fig.  28).  Two  Corinthian  columns 
roughly  blocked  out  form  part  of  the  architecture  of  the  altar.  The  con- 
tract called  for  three  reliefs,  one  in  each  exposed  face  of  the  altar.  This 
one,  in  which  the  movement  is  from  left  to  right,  evidently  decorated  tbe 


42 


LUCA  DELLA  ROBBIA 


left  short  side.  A long  relief  was  required  on  the  anterior  face  of  the 
altar  and  the  Crucifixion  terminated  the  series  on  the  right  short  end. 
That  Donatello’s  relief  representing  the  Giving  of  the  Keys  to  S.  Pietro, 
now  in  the  V ictoria  and  Albert  Museum,  may  have  been  designed  for  this 


Fig.  28.  Deliverance  of  S.  Pietro. 


altar,  as  suggested  by  Schubring,  is  most  improbable.  It  is  only  0.40  m. 
in  height,  whereas  Luca’s  are  0.69  m. 

The  general  composition  of  this  relief,  familiar  to  the  Florentine 
painters  of  the  day,  was,  as  Schubring  has  shown,  based  on  earlier  proto- 
types. In  detailed  execution  it  is  closely  related  to  Luca’s  own  work.  The 
angel  in  the  prison  recalls  types  seen  on  the  Cantoria ; the  sleeping  soldiers, 
the  ornaments  of  the  armour,  and  the  bench  on  which  they  are  seated  may 
be  paralleled  on  the  Campanile  reliefs.  The  angel  leading  S.  Pietro  out 
of  prison  recurs  a few  years  later  on  the  marble  tabernacle  now  at  Peretola. 

(2).  The  Crucifixion  of  S.  Pietro.  Photos,  Alinari,  No.  2708;  Brogi, 
No.  9419. 

According  to  tradition  S.  Pietro  was  crucified  with  his  head  downward. 
In  this  unfinished  relief  (Fig.  29)  S.  Pietro  is  represented  in  the  archaic 
method,  unrelaxed,  as  if  not  subject  to  the  law  of  gravity.  Two  executioners 
are  energetically  nailing  him  to  the  cross.  As  compared  with  Masaccio’s 


LUCA  DELLA  ROBBIA 


43 


predella  painting  of  the  same  subject  in  1427  (see  Schubring,  op  cit..  Abb. 
3 1 ) Luca  gives  less  depth  to  the  background.  The  two  executioners  are 
represented  in  profile.  The  cross  is  planted  towards  the  left,  leading  the 
eye  toward  the  anterior  side  of  the  altar.  The  three  soldiers  to  the  right 


Fig.  29.  Crucifixion  of  S.  Pietro. 


form  a strong  terminal  group  and  are  arranged  much  in  the  same  way  as 
Luca  had  grouped  the  boys  in  the  Cantoria. 

We  may  also  note  that  the  ground  on  which  the  figures  stand  slopes 
downward  toward  the  front. 


DOCUMENTS 

[Quoted  from  Poggi,  Ital.  Forsch.,  II,  216-218.] 

1.  (Poggi,  No.  1078.)  1439,  Aprile  6. 

E piu  gli  [a  Donato  intagliatore ] fu  alloghato  per  insino  a di  6 d’ 
Aprile  1439  a fare  2 altari  di  niarmo  nella  tribuna  di  santo  Zanobi  in  certo 
modo  e disegno:  non  n’a  avuti  danari  alchuno  e non  gli  a cominciati. 
[ Stans EE,  c.  73.] 

2.  (P.  1079.)  1439.  Aprile  12. 

A Lucha  di  Simone  della  Robbia  per  insino  a di  12  d’  Aprile  1439 


44 


LUCA  DELLA  ROBBIA 


fu  alloghato  a fare  2 altari  cli  marmo  nella  tribuna  cli  santo  Zanobi  secondo 
cierto  disegnio,  a avuto  in  presto  f.  XX  d’  oro.  [Stans.,  EE , c.  13  b] 

3.  (P.  1080.)  1439-  Aprile  20. 

Item  postea,  dictis  anno  et  indictione,  die  vigesima  mensis  Aprilis,  pre- 
sentibus  testibus  ad  infrascripta  omnia  vocatis  habitis  et  rogatis,  Filippo  ser 
Brunnelleschi  Lippi  et  Gualterotto  Jacobi  de  Riccialbanis,  Bernardus  Marci 
de  Salviatis  et  Francischus  Canbi  de  Orlandis,  duo  ex  numero  operariorum 
saute  Marie  del  Fiore,  vigore  auctoritatis  eis  concesse  per  offitium  opera- 
riorum  predictorum  ad  infrascripta  facienda,  ut  de  commissione  constat 
manu  ser  Fieri  Tolomei,  notarii  florentini,  omni  modo  etc.  lochaverunt  etc. 
Luce  olim  Simonis  Marci  della  Robbia,  iutagliatori  et  civi  florentino,  presenti 
et  conducenti,  ad  faciendum  et  construendum  duo  altaria  pro  duobus  capellis 
s.  Marie  del  Fiore  infrascripto  modo  et  cum  infrascripto  designo,  videlicet : in 
capella  titulata  et  sub  titulo  santi  Petri  apostoli,  in  dicta  ecclesia,  unurn  altare 
marmoris  longitudinis  et  largituclinis  secundum  modellum  lignaminis,  vide- 
licet in  largitudine  brachiorum  trium  cum  septem  octavis  alterius  brachii 
vel  circha  et  cum  illis  mensuris  sibi  dandis  et  cum  conpassis  in  facie  anteriori, 
uno  videlicet  in  qualibet  testa,  in  quibus  sint  storie  santi  Petri  predicti. 
prout  clabuntur  et  designabuntur  ei  et  a parte  posteriori  prout  alias  delibera- 
bitur.  Secundum  vero  altare  sit  capella  titolata  sub  vocabulo  santi  Pauli 
apostoli,  illius  longitudinis  et  largituclinis  prout  supra  dicitur  de  alio 
superiori,  et  secundum  modellum  eis  dandum,  quod  factum  fuit  de  cera  per 
Donatum  Nicbolai  Betti  Bardi,  quod  est  in  dicta  opera,  videlicet  super 
quatuor  colonnis  et  in  parte  intus  cum  forma  ovale  cum  storiis  et  bguris 
circum  circha  santi  Pauli  predicti.  One  altaria  facere  debeat  ad  usum  boni 
magistri  ita  et  taliter  quod  sint  prout  requiritur  in  dicta  ecclesia  et  debeat 
habere  pro  sua  mercede  pro  dictis  laboreriis  pro  pretio  alias  declarando  et 
ordinando  per  operarios  predictos  et  debeat  et  obligatus  sit  primum  altare 
dare  perfectum  bine  ad  quindecim  menses,  et  alium  post  alios  quindecim 
menses,  et  pro  predictis  obligavit  dictis  operariis  recipientibus  pro  dicta 
opera,  bona  sua  presentia  et  futura.  [Allog.,  c.  5 b] 

4.  (P.  1085.)  I439.  XTovembre  23 

A Lucha  di  Simone  di  Marcho  della  Robbia,  maestro  cli  schultura,  fior. 
XX  per  parte  cli  suo  maestero  cli  clue  altari  di  marmo  con  fighure  fa  per  la 
chiesa  maggiore.  [Stans.,  DD,  c.  69. — Cfr.  Stans.,  E,  c.  112  b c B.  scr 
N.,  I,  c.  ?8f .] 

BIBLIOGRAPHY 

Barbet  de  Jouy,  8,  note  2;  Bode,  Kf„  7;  A.  S.  A.,  II  (1889),  3;  It.  PI.,  85;  /.  k.  />.  K., 
XXI  (1900),  3:  Ft.  Bild.,  109;  FI.  Sc.,  76;  Denkm.,  58,  Taf.  203;  Burla- 
macchi,  18,  98  (Doc.),  hi;  Cavallucci  et  Molinier,  25  (Doc.);  215; 
C'ruttwell,  61-63,  292  (Doc.),  323;  de  Foville,  37-38;  Doering-Dachau, 
10;  Frey,  311-312,  note  (Doc.);  Michel,  IV,  76,  Fig.  52;  Milanesi,  II, 
170  note.  201;  Perkins,  T.  S„  I,  193;  H.  H.,  139;  Poggi,  CXIV,  Figs., 
80-81,  216-218,  Docs.  No.  1078,  1079,  1080,  1085;  Reymond,  D.  R„ 
26-27;  Nr.  FI.,  II,  187-188;  Schubring,  27-30,  Abb.  29-30;  Supino,  423, 
421  ; Rumohr,  II,  290-291,  363-364  (Doc.)  ; Venturi,  VI,  536-558,  Fig.  374; 
Waters,  189. 


LUCA  DELLA  ROBBIA 


45 


8 THE  LUNETTE  FROM  S.  PIERINO.  Florence,  Museo  Nazionale, 
No.  29.  H.,  1.20  m. ; W.,  2.40  m.  Photos.,  Alinari,  Nos.  2773- 

2774;  Brogi,  No.  4656. 

In  a little  street,  the  Via  dei  Ferravecchi,  by  the  Mercato  Vecchio,  now 
replaced  by  the  Piazza  Vittorio  Emanuele,  was  a small,  old  church  known  as 
S.  Piero  di  Buonconsiglio,  popularly  called  S.  Pierino  to  distinguish  it  from 
S.  Piero  Maggiore.  For  the  lunette  above  the  door  Vasari  tells  us  Luca 
della  Robbia  made  a Nostra  Donna  con  alcnni  angeli  intorno  molto  vivaci. 
In  the  seventeenth  century  Del  Migliore  remarks  that  some  persons  objected 


Fig.  30.  Lunette  from  S.  Pierino. 

to  this  relief  as  inappropriate  and  thought  an  image  of  S.  Piero  would  be 
more  fitting.  The  church  was  completely  changed  in  style  in  1736  and 
was  suppressed  in  1785,  but  not  destroyed  for  almost  a century.  Dr.  Bode 
in  1878  had  the  lunette  photographed  for  the  first  time.  In  1884  it  was 
still  over  the  door  of  S.  Pierino,  it  then  lay  boxed  up  for  several  years 
before  it  was  transferred  to  the  Museo  Nazionale  where  it  is  now  preserved. 


46 


LUCA  DELLA  ROBBIA 


When  Alinari’s  photograph,  No.  2773,  was  taken  (Fig.  30),  this 
lunette  appears  already  to  have  suffered  from  ill  usage  and  unskilful  restora- 
tion. It  was  set  directly  above  a projecting  cornice,  and  crudely  raised 
upon  this  base  so  that  it  could  be  seen  from  below,  and  sunken  into  a 
plastered  wall  with  no  architectural  frame  except  its  own.  Evidently  this 
lunette  was  never  designed  for  this  site. 

A comparison  of  this  lunette  with  that  from  the  Via  dell'  Agnolo  will 
also  show  how  unintelligently  it  had  been  put  in  place.  Evidently  the 
moulding  showing  the  leaf  and  dart  and  that  showing  the  egg  and  dart 


Fig.  31.  S.  Pjerino  Lunette  in  Museo  Nazionale. 


should  have  been  above  the  floral  frieze;  only  the  lower  leaf  moulding  and 
the  cord  moulding  are  correctly  placed.  The  floral  wreath,  moreover,  is 
abominably  put  together,  with  no  regard  for  direction,  and  is  crudely 
patched.  Possibly  the  frame  once  followed  the  form  of  a pointed  arch, 
transformed  later  into  a round  arch.  As  it  stands  to-day  in  the  Museo 
Nazionale  (Fig.  31)  the  floral  wreath  is  more  intelligently  composed  and 
restored,  but  is  still  out  of  place.  It  rises  from  the  imposts  of  the  arch 
and  meets  in  the  centre  above  the  Virgin's  head.  Like  the  floral  frame- 
work of  Ghiberti’s  first  baptistery  gates  it  consists  of  a series  of  almost 
continuous,  slightly  detached  bouquets,  here  bound  with  blue  ribbons. 


LUCA  DELLA  ROBBIA 


47 


White  lilies,  wild  roses,  and  dark  olives  are  irregularly  distributed  against 
the  foliage,  which  varies  in  colour  from  a robin’s  egg  to  a rich  green. 
Ruskin  praised  its  naturalism. 

The  relief  sculptures  are  glazed  white  and  set  against  a blue  back- 
ground. No  other  colour  is  used  except  in  the  indication  of  the  eyes,  where 
we  find  gray-blue  irises,  and  dark  blue  or  violet  pupils,  iris  boundaries, 
lashes,  and  eyebrows.  The  eyebrows  are  indicated  by  a series  of  short 
diagonal  strokes  and  the  lower  eyelashes  are  not  invariably  represented. 
The  general  composition  shows  the  Virgin  in  half  figure  in  the  clouds  with 
an  adoring  angel  on  either  side.  The  angels,  though  intently  religious,  are 
clad  in  calligraphic  drapery,  which  betray  Luca’s  rigorous  training  under 
a goldsmith  and  show  how  strongly  he  was  influenced  by  Ghiberti.  The 
triangular  coronals  are  such  as  we  find  on  the  angels  of  Orcagna’s  famous 
tabernacle  in  Or  San  Michele,  and  in  the  sculptured  Porta  della  Manclorla 
of  the  Cathedral.  Luca  uses  the  same  type  of  coronal  in  other  early  works: 
in  the  marble  altar  of  S.  Pietro  (1439),  and  in  the  tabernacle  at  Peretola 
(1442),  but  these  marble  angels  are  designed  in  a more  advanced  and 
independent  style. 

In  the  Madonna  and  Child  Luca  was  probably  dependent  on  some  other 
master.  The  Child,  who  in  Luca's  groups  is  usually  Cjuiet  and  restful,  is  here 
eagerly  pressing  forward  to  bestow  his  blessings  on  the  world.  He  is 
also  held  to  our  left,  whereas  in  Luca’s  other  works  he  is  almost  invariably 
held  to  the  right.  In  the  construction  of  both  Virgin  and  Child  Luca  also 
falls  short  of  his  usual  perfection.  The  Virgin’s  hair  is  very  scantily 
modelled,  her  head  bands  roughly  indicated,  her  shoulders  too  narrow,  her 
brooch  too  large.  The  Child’s  head  is  so  large  and  round  as  to  make  us 
feel  that  it  might  too  easily  be  severed  from  the  body.  And  yet  may  we 
not  see  in  this  representation  of  the  Child  the  same  hand,  but  less  in- 
spired, of  him  who  wrought  in  marble  the  seated  psaltery  players  in  the 
Cantoris  ? 

Various  writers  who  have  described  this  relief  differ  greatly  as  to 
the  period  to  which  it  should  be  assigned.  Bode  dates  it  earlier  than  1443, 
Venturi  somewhat  earlier  than  1450,  Marcel  Reymond  and  Schubring 
between  1450  and  1460,  and  de  Foville  at  about  1465.  In  my  opinion  it 
is  an  inexperienced  work,  in  which  Luca  shows  a tender  sentiment  for  a 
youthful,  bashful  Virgin,  but  his  individual  artistic  style  is  as  vet  but 
slightly  developed.  It  may  even  be  earlier  than  the  Cantoria. 


48 


LUCA  DELLA  ROBBIA 


BIBLIOGRAPHY 


XVI  cent.,  Vasari,  II,  175; 

XVII  cent.,  Bocchi-Cinelli,  215-216;  Del  Migliore,  49 7; 

XVIII  cent.,  Richa,  VII,  303; 

XIX  cent.,  Baldinucci,  V,  220;  Barbet  de  Jouy,  56;  Bode,  Kf.  8,  12,  24;  A.  S.  A., 


II  (1889),  4;  It.  Bild.  Ren.,  71;  Cavallucci  et  Molinier,  47,  53,  212  No. 
42;  Cocchi,  218;  Marquand,  A.  J.  A.,  IX  (1894),  9-10,  PI-  2;  Perkins, 
T.  S.,  I,  198;  Reymond,  D.  R.,  101;  Sc.  FI.,  II,  221-222;  Rossi,  A.  S.  A.,  VI 
(1893),  6-8;  Supino,  443,  No.  29; 


XX  cent.,  Bode,  J.  k.  p.  K„  XXI  (1900),  7-8;  Denkm.  62-63,  Tab-  213;  A/.  Bildh., 


119-120,  Abb.  68;  FI.  Sc.,  81-82;  Z.  /.  b.  K.,  1910,  305;  Burckhardt,  428; 
Burlamacchi,  40,  48,  no;  Cruttwell,  123-125,  323;  de  Foville,  75,  127; 
Doering-Dachau,  Abb.  31;  Michel,  IV,  83,  Fig.  59;  Ruskin,  XXIII,  323; 
XXXIII,  313;  Schubring,  73-76,  Abb.  70;  Bcr.  d.  kunsthist.  Ges.,  1904, 
4-8;  Venturi,  VI,  566,  Fig.  379;  Waters,  192. 


LUCA  DELLA  ROBBIA 


49 


9 THE  ANDRE  MADONNA.  Paris,  Musee  Jacquemart-Andre,  No. 
7/8.  H.,  0.74  m. ; W.,  0.48  m.  Photos.,  Bruckmann,  Munich ; 

Bulloz,  Paris. 

This  free-standing  relief  (Fig.  32)  in  white  enamel,  which  figured 
in  the  Pourtales  sale  of  1865,  was  purchased  in  the  Piot  sale  1890,  and 
on  the  death  of  Madame  Andre  in  1912  became  the  property  of  the 
French  nation  under  the  supervision  of  the  Institut  de  France.  The 


Fig.  32.  The  Jacquemart-Andre  Madonna. 


LUCA  DELLA  ROBBIA 


50 

composition  is  very  similar  to  that  of  the  Madonna  on  the  S.  Pierino 
lunette,  but  the  style  more  advanced.  The  Virgin’s  hair  shows  Luca’s 
favorite  waving  lines,  and  the  mantle,  headdress  and  fillet  are  more  accu- 
rately modelled.  The  ruffle  about  the  neck  is  omitted  and  the  oft  repeated 
girdle  makes  its  appearance.  Her  eyes  have  very  light  blue  irises,  dark 
blue  pupils,  and  violet  lashes.  The  Child  is  less  eager;  he  hesitates  to 
bestow  his  blessing  and  tightly  grasps  the  symbolic  apple.  He  is  covered 
only  with  his  mother's  mantle,  is  held  to  our  left,  and  his  legs  are  posed 
as  in  the  S.  Pierino  lunette.  It  may  be  noticed,  however,  that  his  head 
is  smaller.  In  fact  the  proportions  of  both  figures  have  improved  and  the 
treatment  of  the  drapery  is  distinctly  more  successful.  The  type  of  Virgin 
is  the  same  as  in  the  S.  Pierino  lunette,  and  but  slightly  different  from 
that  of  the  cithara  players  of  the  Cantoria.  Miss  Cruttwell,  without 
having  seen  the  relief,  judged  it  to  be  a “successful  imitation.”  Nor  have 
I seen  it,  but  am  nevertheless  inclined  to  pronounce  it  a genuine  early  work 
by  Luca  himself  and  of  the  period  1430-1440. 


BIBLIOGRAPHY 

Bode,  A.  S.  A.,  II  (1889),  5-6;  /.  k.  />.  K.,  XXI  (1900),  23;  Denhm.  74;  Taf.  215; 

FI.  Bildh.,  143-144,  Abb.  76;  FI.  Sc.,  101 ; Burlamacchi,  30;  Bertaux,  Cat. 
du  Mus.  Jacquemart- Andre,  No.  778 ; Cruttwell,  135,  331;  de  Foville,  63; 
Michel,  Gaz.  B.  A.,  X (1913),  467-  Schubring,  81,  Abb.  84;  Venturi,  VI, 
578,  note  1. 


LUCA  DELLA  ROBBIA 


51 


10  THE  WELLINGTON  ADORATION.  Wellington,  Somerset, 
Nyneheacl  Church.  H.,  0.70  m. ; W.,  0.60  m.  Photo.,  A.  C.  French 
& Co.,  Wellington. 

This  relief  was  presented  to  Nyneheacl  Church  by  its  vicar,  Rev.  John 
Sanford  in  1833.  It  represents  the  Madonna  del  Fiore  or  more  particularly 
the  Madonna  of  the  lilies  adoring  the  Child  (Fig.  33).  It  seems  to  have 
been  cast  in  one  piece  and  covered  with  a fine  hard  enamel,  white  for  the 
Madonna  and  Child,  blue  for  the  background,  blue-green  and  yellow  for 


Fig.  33.  The  Wellington  Adoration. 


5^ 


LUCA  DELLA  ROBBIA 


the  hay,  dark  green  for  the  lily  stalks  and  a bluish  gray  for  the  sloping 
base.  The  Madonna's  eyes  have  light  blue  irises  and  violet  eyebrows, 
lashes,  and  pupils.  Her  hair  was  superficially  gilded.  As  a composition  this 
is  unique,  suggesting  none  of  the  many  adorations  of  Andrea  della  Robbia, 
but  having  the  quality  and  characteristics  of  the  works  of  Luca.  This  Well- 
ington example  is  apparently  much  earlier,  and  more  experimental  than 
the  charming  Adoration  in  the  Foulc  collection,  Paris.  The  Child  is  here 
placed  to  the  left,  not,  as  we  might  expect,  in  a work  by  Luca,  to  the  right. 
He  is  nude,  pensively  touching  his  chin  with  his  left  forefinger,  a proto- 
type of  the  Child  in  Andrea  della  Robbia’s  beautiful  Adoration  at  La  Verna. 
He  reclines  on  bis  mother’s  mantle  and  is  thus  protected  from  contact  with 
the  coarse  hay — a most  unusual  and  thoughtful  motive.  His  hair  shows  little 
or  no  modelling,  but  was  gilded.  This  Madonna  is  firmly  posed  on  her 
knees;  she  wears  a fillet  and  light  headdress;  her  hair  is  drawn  in  a heavy 
roll  over  her  ear,  like  that  of  the  angel  in  the  S.  Matteo  medallion  on  the 
Pazzi  Chapel  wall ; her  head  is  not  unlike  that  of  the  Virtues  in  the  Porto- 
gallo  Chapel ; her  hands  are  clasped  in  prayer,  the  right  hand  and  arm 
being  barely  indicated  in  the  very  flattened  relief ; her  mantle  is  caught  up 
beneath  her  left  elbow  and  falls  over  her  left  side  in  folds  not  unlike  those 
in  the  S.  Elisabetta  at  Pistoia,  and  from  her  right  shoulder  in  sweeping 
mass  to  envelope  the  Child. 

On  either  side  the  lily  plants  show  buds  and  flowers,  the  latter  with 
their  pistils  and  stamens,  which  are  displayed  also  in  the  lilies  of  the  S. 
Pierino  lunette  and  in  those  of  the  Madonna  of  the  Physicians,  Or  San 
Michele,  but  are  omitted  in  the  lilies  of  the  Via  dell'Agnolo  and  in  the 
Urbino  lunettes,  as  well  as  on  the  borders  of  the  Federighi  Tomb.  As  a 
whole  this  relief  forms  an  interesting  parallel  to  Fra  Filippo  Lippi’s  adora- 
tions of  the  decade  1430  to  1440. 


BIBLIOGRAPHY 

Marquand,  A.  J.  A.,  XVI  (1912),  166-169,  Fig.  2. 


LUCA  DELLA  ROBBIA 


53 


11  THE  WELLINGTON  MADONNA.  Wellington,  Somerset.  Nyne- 
head  Church.  H.,  0.75  m. ; W.,  0.45  m.  Photo.,  A.  C.  French  & Co., 
Wellington. 

This  relief,  originally  rectangular  in  shape,  has  been  cut  away  so  as 
to  fit  into  a niche  of  late  Gothic  form  arranged  to  receive  it  when  presented 
in  1833  by  the  vicar  Rev.  John  Sanford  (Fig.  34).  The  figures  are  covered 
with  a thick,  hard,  white  glaze,  and  are  set  against  a fine  blue  background. 
The  relief  is  not  to  be  classed  as  polychromatic,  though  there  are  traces 
of  gold  on  the  hair,  the  eyes  have  gray-blue  irises,  dark  blue  or  violet 
eyebrows  and  lashes,  and  the  sloping  base  on  which  the  Child  stands  is 


Fig.  34.  The  Wellington  Madonna. 


54 


LUCA  DELLA  ROBBIA 


gray-blue.  The  small  piece  of  blue  background  below  the  right  knee  of 
the  Child  is  splashed  with  white,  but  this  appears  to  be  accidental. 

The  relief,  when  analyzed  in  detail,  should  be  readily  recognized  as 
the  work  of  Luca  della  Robbia.  In  the  lunette  from  S.  Pierino  Luca  had 
represented  the  Madonna  and  angels  as  emerging  from  or  boating  above 
clouds.  In  the  Cantoria  for  the  cathedral  of  Florence  he  represented  sing- 
ing boys  and  maidens  standing  upon  clouds.  Here  we  have,  as  it  were,  the 
central  portion  of  a lunette  composition  from  which  the  lateral  angels  and 
basal  clouds  are  omitted.  The  composition,  although  on  a rectangular 
plaque,  retains  somewhat  a triangular  or  pyramidal  character. 

It  may  be  further  noticed  that  the  Child  is  here  posed  to  the  right  of 
the  Madonna.  In  the  S.  Pierino  lunette,  and  in  the  Andre  Madonna,  Luca 
had  placed  the  Child  toward  the  left;  but  the  composition  was  not  particu- 
larly successful,  and  almost  invariably  afterward  he  set  the  Child  to  the  right. 
In  this  group,  as  in  many  others  by  Luca  della  Robbia,  neither  the  Madonna 
nor  the  Child  wears  a halo,  but  inasmuch  as  Luca  made  use  of  haloes  as  early 
as  1442  (Peretola  tabernacle)  and  again  in  1455  (Federighi  Tomb)  it 
is  not  easy  to  determine  whether  the  presence  or  absence  of  the  halo  has,  in 
Luca’s  works,  any  chronological  significance.  As  a rule,  however,  Luca 
made  little  use  of  haloes,  while  his  more  conventional  nephew,  Andrea, 
employed  them  with  great  frequency. 

If  we  regard  the  structural  forms,  we  find  in  the  Madonna’s  oval  face, 
her  long  neck  and  flat  breasts,  her  slender  arms  with  hands  ending  in  long- 
tapering  fingers,  characteristics  which  may  be  paraded  in  many  of  Luca’s 
Madonnas.  Add  to  this  the  waving  hair,  almost  obliterating  the  ear,  the 
blue  eyes  with  the  stippled  eyebrows,  the  long,  straight  nose,  the  timid,  open 
mouth,  and  the  sharp-pointed  chin,  and  the  attribution  approximates  cer- 
tainty. The  drapery  also  is  most  characteristic  of  Luca’s  handiwork.  We 
note  especially  the  ruffle  and  flat  neck  band,  the  simple  folds  of  the  tunic, 
the  plain  girdle  without  even  a bow  knot,  the  tight  buttoned  sleeves,  and 
the  mantle  drawn  across  the  front.  All  of  these  peculiarities  are  many 
times  repeated  in  Luca’s  Madonnas.  Like  the  Andre  Madonna  this  relief 
exhibits  more  advanced  types  of  both  Virgin  and  Child  than  those  of  the 
S.  Pierino  lunette,  but  nevertheless  should  be  dated  before  the  year  1440. 

BIBLIOGRAPHY 

Marquand,  A.  J.  A.,  XVI  (1912),  163-166,  Fig.  1. 


LUCA  DELLA  ROBBIA 


55 


12  THE  S.  DONATO  MADONNA.  Florence.  Formerly  in  Palazzo 
di  S.  Donato.  Prince  Demidoff  Collection.  H.,  0.73  m. ; W.,  0.48 
m.  Photo.,  Alinari,  No.  30470. 

This  Madonna  (Fig.  35)  was  owned  by  some  member  of  the  Della 
Robbia  family,  until  sold  by  the  Marchese  Viviani  della  Robbia  in  Feb- 
ruary, 1879.  It  then  figured  in  Prince  Demidoff ’s  collection  and  was  sold 
in  the  Palazzo  di  San  Donato  sale  at  Florence,  March  15,  1880.  Its  present 
whereabouts  is  unknown.  This  is  unfortunate,  since  it  tempts  a critic  like 


Fig.  35.  The  S.  Donato  Madonna. 


Marcel  Reymond,  without  seeing  it  to  speak  of  it  as  the  only  Madonna  by 
Luca  in  a private  collection,  while  Miss  Cruttwell  positively  rejects  it  as  a 
work  by  Luca  and  even  ventures  to  attribute  it  to  Giovanni  della  Robbia. 
Nor  have  I seen  it,  lint  the  very  excellent  photograph  clearly  indicates 


56 


LUCA  DELLA  ROBBIA 


its  high  quality  and  its  many  affiliations  with  other  works  by  Luca  della 
Robbia. 

As  in  the  S.  Pierino  lunette  the  scene  is  laid  above  the  clouds  against 
the  blue  sky,  and  the  Madonna  wears  still  the  broad  neckband  and  high 
ruffle.  As  compared  with  the  S.  Pierino  Madonna  she  is  somewhat  older, 
less  timid,  and  her  features  more  perfectly  formed.  The  child,  entirely 
nude  now  stands  to  the  right,  grasping  with  his  right  hand  his  mother’s  veil 
and  in  his  left  holding  the  symbolic  apple.  The  type  of  child  and  the 
general  composition  recall  the  Wellington  Madonna,  from  which  it  cannot 
be  far  removed  in  date.  More  advanced  in  style  than  the  S.  Pierino 
Madonna  and  less  so  that  the  Madonna  in  the  lunette  of  S.  Domenico  at 
Urbino  this  Madonna  may  be  assigned  to  the  late  thirties  or  early  forties. 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXI  (1900),  19;  Denkm.,  73,  Taf.  243;  FI.  Bildh.,  137;  FI.  Sc.,  96; 

Burlamacchi,  75;  Cavallucci  et  Molinier,  54-55,  259;  Cruttwell,  134;  Mar- 
quand,  A.  J.  A.,  IX  (1894),  21;  Reymond,  D.  R.,  109-110,  140;  Sc.  FI.,  II, 
224-225,  227;  Schubring,  81,  Abb.  83;  S.  Donato  Cat.,  N'o.  376. 


LUCA  DELLA  ROBBIA 


57 


13  THE  ALTMAN  MADONNA.  New  York,  Metropolitan  Museum. 
IT,  0.80  m. ; W.,  0.56  m.  Photo.,  A.  E.  Sproul,  New  York;  Metro- 
politan Museum. 

This  fine  Madonna  (Fig'.  36)  was  formerly  in  the  collection  of  Count 
Leonello  di  Nobili,  Florence,  and  was  on  sale  for  several  years  in  London 
and  Paris  before  it  found  a home  in  the  Altman  Collection  and  then  in 


Fig.  36.  The  Altman  Madonna. 


58 


LUCA  DELLA  ROBBIA 


the  Metropolitan  Museum  in  New  York.  It  resembles  the  Andre  Ma- 
donna in  having  no  background,  and  was  probably  designed  to  be  set  in 
a lunette  over  a door.  The  base  is  a rich  blue  and  has  its  corners  cut  away. 
The  figures  are  covered  by  a hard  white  glaze,  the  Madonna’s  head  having 
been  cast  separately. 

As  a composition  it  is  more  quiet  and  restful  than  the  S.  Pierino 
lunette.  The  Child  is  placed  to  the  right,  is  scantily  covered  with  his 
mother's  mantle,  blesses  with  his  right  hand,  and  holds  in  his  left  a scroll 
inscribed  ego  svm  lvx  mvnui.  This  Virgin  may  be  described  as  the  S. 
Pierino  Madonna  grown  somewhat  older.  She  has  the  same  broad  fore- 
head, oval  face,  half-opened  mouth,  and  pointed  chin.  Her  kerchief  and 
drapery  are  charming  in  their  simplicity.  Her  shoulders  have  broadened 
and  the  Child’s  head  has  decreased  in  size,  indicating  that  Luca’s  feeling 
for  proportion  is  much  better  than  it  was  when  he  made  the  S.  Pierino 
lunette. 

Some  details  merit  attention.  The  eyes  are  indicated  as  before  but 
with  a slight  change  of  colour.  The  irises  are  no  longer  gray-blue,  but 
gray-green.  Gray-green  irises  occur  only  once  again  in  Luca’s  Madonnas, 
so  far  as  I have  observed — in  the  Frescobaldi  Madonna  in  the  Berlin 
Museum.  The  method  of  fastening  the  Madonna’s  mantle  by  two  cords, 
each  with  two  tassels,  is  noticeable,  as  Luca  has  elsewhere  attempted  some- 
what similar  fastenings.  On  other  occasions  also  Luca  placed  a scroll  in 
the  hands  of  the  Child : in  the  lunette  from  the  Via  dell’Agnolo,  in  that  of 
S.  Domenico  at  Urbino,  in  the  Madonna  of  the  Innocenti  Hospital,  and 
upon  the  bronze  doors  of  the  Cathedral ; but  nowhere  does  it  follow  so 
graceful  a curve  as  in  the  Altman  Madonna.  In  modelling  this  Madonna 
Luca  is  no  longer  experimental,  nor  is  he  wearied  by  repetition ; he  has 
reached  a high  stage  of  accomplishment. 


BIBLIOGRAPHY 


Bode,  Z..  f.  b.  K.,  XXI  (1910),  306,  Marquand,  D.  R.  A.,  1-7,  Fig.  1. 


CHAPTER  II 


1440-1450 


CHAPTER  11 


1440-1450 

14  THE  PERETOLA  MARBLE  TABERNACLE.  Peretola,  S.  Maria. 

1441-1443.  H.,  2.60  m. ; W.,  1.22  m.  Photos.,  Alinari,  No.  3724; 

Brogi,  Nos.  5841,  5841a. 

The  marble  tabernacle  in  the  church  of  S.  Maria  at  Peretola  (Fig.  37) 
was  made  for  the  Cappella  di  S.  Luca  in  the  church  of  the  Hospital  of  S. 
Maria  Nuova,  Florence.  The  documents  show  that  it  was  ordered  in  T441, 
that  Luca  assisted  by  Antonio  di  Cristofano,  was  paid  107  fl.,  1 lira,  16  soldi 
for  the  completed  work  in  1443.  Sometime  in  the  eighteenth  century  it  was 
transferred  from  S.  Maria  Nuova  to  its  dependency  at  Peretola. 

This  monument  is  of  interest  for  its  architecture,  as  well  as  for  its 
unusual  technique.  Architecturally  the  Peretola  tabernacle  shows  an  ad- 
vance in  style  upon  the  forms  of  the  Cantoria.  The  acanthus  leaves  of  the 
capitals  are  more  accurately  delineated,  the  central  spirals  are  still  as 
emphatic  as  the  lateral  ones,  but,  as  in  Roman  examples,  have  protruding 
oculi.  This  latter  character  was  exhibited  in  Brunelleschi’s  capitals  for  the 
columns  and  pilasters  of  the  Pazzi  chapel,  and  in  Michelozzo’s  Porta  del 
Noviziato  at  S.  Croce.  The  latter  door  was  certainly  made  as  early  as 
1445  (Fabriczy,  Michelozzo,  38),  but  whether  before  or  after  the  Peretola 
tabernacle  is  not  known.  Marcel  Reymond  assumes  that  it  was  made  about 
1440  ( Brunelleschi , 35)  and  that  this  tabernacle,  especially  in  the  decora- 
tion of  the  frieze,  is  derived  from  it.  This  is  not  clearly  proved.  Michel- 
ozzo  was  very  busy  at  other  works  about  1440,  and  the  Peretola  tabernacle, 
if  a derivative  monument,  is  far  finer  than  its  model. 

According  to  Schubring,  the  tabernacle  was  built  up  as  a framework 
for  the  two  bronze  reliefs,  the  sportcllo,  or  small  bronze  door  on  which  is 
represented  Christ  shedding  his  blood  into  a chalice,  and  the  spiritello,  with 
the  Holy  Dove.  The  sportcllo  he  attributes  to  Donatello,  and  suggests  it 
might  have  been  the  one  designed  for  the  Font  in  the  Baptistery  at  Siena 
(1428).  This,  however,  is  extremely  improbable.  This  sportcllo  with  its 

61 


6 2 


LUCA  DELLA  ROBBIA 


anatomical  Christ  is  of  later  date,  and  was  evidently  inserted  as  an  after 
thought,  breaking  obtrusively  into  the  composition  and  actually  injuring  the 
background,  with  nothing  in  the  environment  to  make  it  welcome.  Luca  was 


Fig.  37.  The  Peretola  Tabernacle. 


commissioned  to  make  a Corpus  Christi  tabernacle.  His  thought  for  the 
decoration  was  conceived  in  a direct  and  religious  spirit.  Here  is  repre- 
sented God  the  Father,  the  Son  who  died  for  us,  and  the  Spirit  who  makes 
the  sacrifice  effectual.  This  was  sufficient,  even  though  we  are  obliged  to 


LUCA  DELLA  ROBBIA 


63 


assume  a small  door,  probably  without  figured  decoration,  in  this  position. 
After  Desiderio's  famous  tabernacle  for  S.  Lorenzo  it  became  customary  to 
introduce  the  chalice  into  the  decoration  of  the  tabernacle;  so  some  priest, 
perhaps  when  the  tabernacle  was  moved  to  Peretola,  may  have  thought  it 
necessary  to  introduce  here  a reference  to  the  blood  of  Christ.  If  we 
substitute  a plain  door  for  this  sportcllo,  the  whole  design  becomes  simpler 
and  more  beautiful. 

The  bronze  Dove  is  evidently  part  of  the  original  design  and  by  Luca 
himself.  It  is  framed  in  a marble  laurel  wreath  upheld  by  two  angels. 
Laurel  wreaths  are  familiar  to  us  in  Luca's  Cantoria  and  Campanile  reliefs, 
and  the  angels  with  their  triangular  coronals  are  sisters  to  the  angel  of  the 
S.  Pietro  relief  made  by  Luca  in  1439.  The  draperies  show  Luca’s  fondness 
for  long  sweeping  folds,  with  a tendency  to  simplification.  The  feathers  of 
the  wings  are  brought  out  by  gilding.  The  brocaded  curtain  in  the  back- 
ground is  bordered  with  rosettes  and  conventionalized  foliage,  similar  to 
those  which  Luca  had  used  in  the  relief  of  the  Tambourine  Players. 

Above  the  angels  and  Dove  is  a lunette  in  which  is  represented  a Pieta. 
Here  is  a half  figure  of  the  lifeless  Christ  supported  by  a weeping  angel 
and  attended  by  S.  Maria  and  S.  Giovanni  Evangelista.  All  wear  haloes, 
once  gilded.  The  background  is  of  blue  glazed  terra-cotta,  more  per- 
manent than  paint.  This  Pieta  was  not  altogether  a congenial  task  for 
Luca.  The  suave  S.  Maria,  drawn  perhaps  from  his  own  mother,  or  a 
sister  superior  in  the  Hospital,  shows  little  emotion.  The  angel  and 
S.  Giovanni  have  tragic  expressions  but  calm  attitudes.  The  relaxed 
Christ  is  more  successfully  rendered.  We  note  that  this  lunette  does 
not  rest  upon  a secondary  order  of  columns,  but  upon  rectangular  piers, 
also  that  the  spandrels  of  the  arch  contain  fluted  disks  more  skilfully  treated 
than  on  the  Campanile  Grammar  relief.  Each  disk  contains  a crutch,  the 
emblem  of  the  hospital  of  S.  Maria  Nuova. 

The  triply  stepped  architrave  is  decorated  with  a roundel,  a twisted 
cord,  and  a bead  and  reel.  The  crowning  moulding,  a cywa  rcvcrsa,  exhibits 
an  unusual  decoration,  the  scale  ornament.  The  mouldings  of  the  cornice 
and  pediment  are  decorated  with  the  egg  and  dart,  dentils,  channellings,  and 
leaf  and  dart.  The  pediment  contains  a half  figure  of  God  the  Father 
blessing.  He  wears  a halo  and  holds  an  open  book  inscribed  in  excellent 
lettering  A Q. 

Not  satisfied  with  the  white  marble  and  gilded  details,  the  blue 


64 


LUCA  DELLA  ROBBIA 


background  of  the  lunette,  and  the  bronze  spiritello,  Luca  further  decorated 
this  tabernacle  with  glazed  terra-cotta  mosaics  and  relief  sculptures.  The 
predella,  or  base,  is  beautifully  decorated  with  marble  guilloches  having 
large  and  smaller  openings.  In  the  central  opening  is  the  crutch  of  the 
Hospital,  and  in  the  other  large  openings  are  twelve-petalled  rosettes  coloured 
by  concentric  bands  of  blue,  dark  in  the  centre  and  lighter  towards  the 
outer  edge.  Similar  rosettes  Luca  had  represented  on  the  Campanile  and 
S.  Pietro  relief,  and  the  concentric  circles  of  blue  occur  again  on  several  of 
his  medallions  in  the  Pazzi  Chapel.  Between  the  guilloche  and  its  surround- 
ing frame  are  insets  of  purple-violet  decorated  with  green  ferns.  Similar 
green  fern  leaves  against  the  purple-violet  occur  in  the  spandrels  of  the 
lunette  above.  This  is  practically  a new  technique.  Glazed  terra-cotta  had 
been  used  occasionally  in  mediaeval  times  to  give  spots  of  colour  to  dull 
stone  buildings,  but  here  it  is  used  for  insets  as  in  polychromatic  marble 
pavements,  in  Cosmati  work,  or  in  champlcve  enamel.  The  decoration 
is  so  charming  and  the  glaze  and  firing  so  excellent— every  piece  fits  per- 
fectly in  its  place — that  we  must  suppose  Luca  to  have  had  much  experience 
in  glazing  terra-cotta  before  the  years  1441 -1443. 

Even  more  unusual  is  the  decoration  of  the  frieze — terra-cotta  sculp- 
ture applied  to  marble.  The  winged  cherub  heads  with  garlands  are  likely 
to  have  been  suggested  by  Donatello’s  frieze  for  the  base  of  the  John  XXIII 
Tomb  in  the  Baptistery,  but  cherub  heads  and  garlands  were  rapidly  becom- 
ing tbe  common  property  of  sculptors  and  painters.  It  is  interesting  to  note 
that  the  mediaeval  colouring,  red  seraphim  near  the  throne  and  blue 
cherubim  farther  away,  is  adhered  to  by  Luca.  The  central  cherub  here 
might  properly  be  called  a seraph.  It  is  actually  purple-violet,  the  nearest 
approach  to  red  that  could  he  attained  by  the  potters  of  the  fifteenth  century. 
The  two  exterior  cherubs  are  blue,  face  and  wings  being  uniformly  coloured. 
These  cherub  heads  are  the  prototypes  for  the  bambini  of  the  Innocenti 
Hospital,  and  for  the  cherub  heads  which  decorate  so  many  of  the  works  of 
Andrea  della  Robbia.  The  green  garland  with  its  roses  and  morning- 
glories  was  foreshadowed  in  the  wreaths  of  the  Cantoria,  but  in  this  taber- 
nacle is  more  highly  developed  in  composition  and  in  the  permanency  of 
its  colouring. 

This  experiment  of  applying  glazed  terra-cotta  reliefs  to  a marble 
ground  ended  with  this  monument.  Luca  della  Robbia  did  not  attempt  it 
again,  and  only  once  did  Andrea  della  Robbia  make  a somewhat  similar 
combination : at  S.  Maria  delle  Grazie  near  Arezzo. 


LUCA  DELLA  ROBBIA 


65 


DOCUMENTS 

[Copied  by  Signorina  Eugenia  Levi.] 

1.  1441.  Lucha  di  Simone  della  Robbia,  maestro 
d’intaglio,  de  dare  adi  4 d'aghosto  fior.  venti, 
porto  contanti,  sono  per  parte  d’un  tabernaeolo  di 
marmo  per  tenere  il  chorpo  di  Christo  nella  cap- 

pella  di  Santolucha  ; a uscita  segnato  p.  p.  a c.  66 . . Fior.  20 
E adi  20  di  giennaio  fior.  sei,  porto  contanti  a 

uscita,  segnato  p.  p.  a c.  95 Fior.  6 

E adi  15  di  febbraio  fior.  dodici,  porto  contanti  a 

uscita  segnato  p.  p.  a c.  101 Fior.  12 

E adi  17  di  marzo  fior.  dieci  porto  di  detto  a uscita 

segnato  p.  p.  a c.  104 Fior.  10 

E de  dare  adi  7 d’aprile  1442  fiorini  dieci  larghi 

d’oro  porto  contanti  a uscita  a c.  107 Fior.  10 

E adi  16  maggio  fiorini  trenta  doro  larghi  porto 
contanti  a uscita  c.  114  anzi  li  paghamo  per 
lui  a Domenicho  di  Cristofano  che  lavoro 

collui  Fior.  30 

E adi  2 giugno  fior.  dieci  porto  contanti  a uscita 

a c.  1 16 Fior.  10 

E adi  detto  lire  quaranta,  soldi  10  posto  che 
l'opera  di  Santa  Maria  del  fiore  de  avere  in 
questo  a c.  103,  sono  per  7 pezi  di  marmo  di  lib. 

5400  per  soldi  15  per  libbra  e erano  anti  della 
detta  opera  che  se  n’havessi  a far  debitore  detto 

Lucha  Fior. 

[Archivio  del  R.  Arcispedale  di  S.  Maria  Nuova 
in  Firenze.  Libro  Debitori  e Creditori  1441- 
1446,  Segn.  C.,  a c.  69.] 

2.  1442.  Lucha  di  Simone  della  Robbia  de  dare 
fior.  cientosette,  lib.  1,  soldi  16,  posto  de  avere  in 
questo  a c.  69  sono  chagione  del  tabernacholo 
dove  sta  el  Chorpo  di  Christo  nella  chappella  di 

Santo  Lucha,  il  quale  fecie  detto  Lucha Fior.  107 

[Libro  Debitori  e Creditori,  1441-1446,  Segn. 

C.,  a c.  154.] 

3.  1443.  Lucha  di  Simone  della  Robbia,  maestro 

d'intaglio,  de  dare  fior.  107  1 16;  i quali  X auti 
contanti  levati  dal  libro  vecchio  de’  debitori  seg- 
nato b.,  c.  255 Fior.  107 

I detti  danari  sono  per  chagione  del  tabernacholo 
del  marmo  dove  si  tiene  il  corpo  di  Christo  nella 
chappella  di  Santo  Lucha,  che  n'ha  a esser 
paghato. 

[Libro  Debitori  e Creditori  1443-1490,  a c.  15.] 


1 16 


1 16 


66 


LUCA  DELLA  ROBBIA 


BIBLIOGRAPHY 

Bode,  A.  S.  A.,  II  (1889),  3;  It.  PL,  85;  /.  k.  p.  K.,  XXI  (1900),  3-4;  Denkm.  58, 
Taf.  209;  FI.  Bildh.,  no;  FI.  Sc.  76,  PI.  34;  Burlamacchi,  18-22,  103 
(Doc.),  1 1 5 ; Cavallucci  et  Mollnier,  25-26  (Doc.),  187-188  (Doc.), 
241,  No.  223;  Cruttwell,  69-71,  292-293  (Doc.),  324;  de  Foville,  40;  Mar- 
quand,  A.  J.  A.,  IX  (1894),  15-16;  Doering-Dachau,  10,  Abb.  13;  Michel, 
IV,  76,  Fig.  53;  Milanesi,  II,  176,  note  3;  Molinier,  Gaz.  Arch.,  IX  (1884), 
360-364  (Doc.),  PI.  49;  Reymond,  D.  R.,  27-30;  Sc.  FI.,  II  188-189; 
Schubring,  30-36,  Abb.  32;  Stegmann  und  Geymiiller,  II,  Die  Bildhauer 
Fcnnilie  della  Robbia,  1,  Fig.  1;  Venturi,  VI,  560,  Fig.  375;  Waters,  190. 

15  THE  VIA  DELL’  AGNOLO  LUNETTE.  Florence,  Museo  Nazion- 
ale.  IT,  1.60  m. ; W.,  2.22  m.  Photos.,  Alinari,  Nos.  2511-2512; 
Brogi,  No.  4655. 

This  very  beautiful  lunette  (Fig.  38)  was  removed  in  1904  to  the 

Museo  Nazionale  from  above  the  door  of  the  house  of  Avvocato  Tantini  in 


Fig.  38.  The  Via  dell’  Agnolo  Lunette. 


Via  dell’  Agnolo,  No.  93,  where  it  was  uncared  for  and  subject  to  damage. 
In  Baldinucci’s  day  the  building  from  which  it  was  taken  served  as  a 
scnola  de’  cherici  for  S.  Piero  Maggiore.  In  the  fifteenth  century  this  build- 
ing was  a Monastero  dclle  Monadic  of  S.  Giovanni  Laterano,  and  a depen- 
dency of  the  monastery  of  S.  Piero  Maggiore.  Vasari  describes  it  as  a 
chiesina  vidua  a S.  Piero  Maggiore,  and  mentions  the  lunette  above  its 
entrance  as  containing  a Madonna  and  Angels  “bellissimi.” 

The  frame  exhibits  a succession  of  bouquets  of  roses  and  lilies,  which 
rise  from  the  imposts  and  meet  at  the  centre  of  the  arch.  Robin's-egg  blue 


LUCA  DELLA  ROBBIA 


67 


and  yellow,  as  well  as  green,  are  used  in  the  colouring  of  the  leaves  against 
which  the  flowers  are  set  as  rhythmic  spots  of  white.  The  bunches  of 
flowers  are  not  tied  by  ribbons,  but  are  separated  from  each  other  rather 
more  distinctly  than  in  the  similar  frieze  in  the  lunette  from  S.  Pierino.  It 
is  constructed  in  like  fashion  with  a flat  fillet  on  the  upper  edge  and  none 
on  the  lower.  The  remaining  mouldings  are  precisely  like  those  of  the 
S.  Pierino  lunette,  but  properly  arranged. 

The  construction  of  the  frame  does  not  exhibit  the  perfect  joints 
seen  in  some  of  Luca’s  later  works,  as  the  separate  blocks  are  not  of  equal 
size  and  the  successive  bands  have  neither  alternating  nor  coincident  joints, 
but  are  somewhat  irregularly  blocked  out  and  put  together.  The  central 
relief  is  composed  of  several  segments,  the  Madonna  and  Child  having  been 
cast  as  a separate  group  and  their  heads  apart  from  their  bodies.  Each 
angel,  however,  was  cast  as  a whole. 

As  compared  with  the  S.  Pierino  lunette  in  composition  this  is  the  more 
freely  conceived.  There  the  angels’  wings  are  confined  within  the  limits  of 
the  frame,  here  they  exceed  its  inner  boundary.  There  the  angels  with 
calligraphic  draperies  are  piously  occupied  with  the  sacred  Child,  here  more 
freely  draped  they  gaze  down  on  the  passing  crowd.  The  angels  still  wear 
triangular  coronals,  but  more  consciously.  They  are  more  lovely  than  the 
candelabrum-bearing  angels  in  the  sacristy  of  the  cathedral  of  Florence. 

The  Madonna  (Fig.  39)  is  physically  better  developed,  less  timid,  more 
thoroughly  human  than  the  S.  Pierino  Madonna.  She  no  longer  wears  a 
ruffle  about  her  neck,  but  like  the  other  figures  in  this  relief,  and  many 
others  of  the  same  period,  has  a simple  girdle  about  her  waist.  The  Child, 
like  his  queenly  mother,  is  well  proportioned,  and  is  quietly  conscious  of  his 
power,  as  he  extends  one  hand  in  blessing  and  in  the  other  holds  the 
scroll  inscribed  ego  svm  lvx  mvndi.  He  is  fully  draped,  possibly  because 
he  stood  at  the  entrance  of  a nunnery  where  young  girls  went  to  school. 
The  eyes,  which  in  some  lights  look  almost  black,  all  have  gray-blue  irises, 
and  violet  brows,  pupils  and  lashes. 

As  to  its  date,  I believe  that  it  is  more  reasonable  with  Dr.  Bode  to 
assign  it  to  about  1440.  rather  than  with  Venturi  to  about  1450,  or  with 
Marcel  Reymond  and  de  P'oville  to  about  1460. 


Fig.  39.  Detail  of  Via  dell'  Agnolo  Lunette. 


LUCA  DELLA  ROBBIA 


69 


BIBLIOGRAPHY 

XVI  cent.,  Vasari,  II,  175; 

XIX  cent.,  Baldinucci,  V,  220;  Bigazzi,  175;  Bode,  Kf.  12,  24;  A.  S.  A.,  II  (1889), 

4;  /.  k.  p.  K.,  VI  (1885),  179;  It.  Bild.  R.,  78;  Cavallucci  et  Molinier, 
51,  53,  213;  Marquand,  Sc.  Mag.,  1893,  684,  693;  A.  J.  A.,  IX  (1894), 
12-13,  PI.  5;  Reymond,  D.  R.,  104-105,  140;  Sc.  FI.,  II,  222-223; 

XX  cent.,  Bode,  /.  k.  />.  K.,  XXI  (1900),  7;  Denkm.  62,  Taf.  208;  FI.  Bildh.,  118- 

119,  Abb.  67;  FI.  Sc.,  81,  PI.  39;  Z.  f.  b.  K.,  XXI  (1910),  305;  Burck- 
hardt,  428;  Burlamacchi,  36-38;  Cruttwell,  125-127,  324;  de  Foville,  56- 
59;  Doering-Dachau,  23;  Gerspach,  R.  A.  Chr.,  XV  (1904),  405-407; 
Michel,  IV,  83,  Fig.  58;  Schubring,  73,  76,  Abb.  71;  Venturi,  VI,  566, 
Fig.  380;  Waters,  192. 

16  THE  MUGELLO  LUNETTE.  Berlin,  Kaiser-Friedrich-Museum, 
No.  74  (Old  No.,  1 15  CL  H.,  0.83  m. ; W.,  1.54  m.  Photo.,  Berlin 
Museum. 

This  imposing  lunette  (Fig.  40)  was  purchased  from  an  English 


Fig.  40.  Lunette  from  the  Mugello. 


dealer  by  the  Berlin  Museum  in  1905.  It  formerly  stood  over  the  door  of  a 
private  chapel  in  the  region  of  the  Mugello.  In  subject  it  recalls  the 
S.  Pierino  and  Via  dell'  Agnolo  lunettes. 

The  resemblance  of  this  Madonna  to  that  in  the  Via  dell’  Agnolo 
lunette  is  most  striking,  as  also  are  the  features  of  the  Child.  Evidently 


70 


LUCA  DELLA  ROBBIA 


the  same  stately  woman  was  in  Luca’s  mind.  If  there  be  any  difference  in 
date,  the  Berlin  lunette  is  the  more  advanced.  Miss  Cruttwell  and  de  Foville 
have  written  in  terms  of  high  praise  of  the  hands  of  the  Madonna  from  the 
Via  dell’  Agnolo.  Here  the  structure  of  the  hand  is  better  understood,  and 
the  disposition  of  the  figures  more  expressive.  The  hands  of  the  angels  also 
are  noteworthy. 

As  in  the  S.  Pierino  lunette,  the  Virgin  has  a ruffle  about  her  neck,  and 
her  veil  and  mantle  serve  as  a light  drapery  for  the  Child ; her  eyes  also  are 
similarly  indicated,  but  at  this  point  the  resemblance  ceases.  The  S.  Pierino 
type  of  Madonna  has  been  abandoned,  and  a new  type,  that  of  the  Via 
dell’  Agnolo,  has  taken  its  place.  But  what  of  the  angels?  These  are  not 
like  the  angels  in  either  of  the  above-mentioned  lunettes.  They  are  much 
closer  in  type  to  the  adoring  angels  on  either  side  of  the  Madonna  and 
S.  Giovanni  Battista  on  the  uppermost  panels  of  the  bronze  sacristy  doors 
(1446-1469).  These  comparisons  make  it  difficult  to  assign  an  exact  date 
to  this  lunette,  especially  if  we  give  a late  date  to  the  bronze  panels.  How- 
ever I am  inclined  to  set  this  relief  in  the  decade  1440-1450.  It  seems  to  be 
earlier  than  the  lunette  over  the  door  of  S.  Domenico,  Urbino  (1449). 

BIBLIOGRAPHY 

Bode,  Schneider,  181;  FI.  Sc.,  87;  FI.  Bildh.,  163,  Abb.  90;  Marquand,  A.  J.  A.,  XI 
(1907),  41,  PI.  8;  Schottmuller,  33-34,  No.  74  (I,  2967);  J.  k.  p.  K., 
XXVII  (1906),  224;  Schubring,  L’Arte,  IX  (1906),  387;  Venturi,  VI,  578, 
note  1. 


LUCA  DELLA  ROBBIA 


71 


17  THE  CAPPUCCINI  TONDO.  Florence,  Museo  Nazionale,  No.  27. 

Diam.,  1 m.  Photos.,  Alinari,  No.  2767;  Brogi,  No.  4746. 

This  tondo  (Fig.  41)  came  from  the  monastery  of  the  Cappuccini, 
Florence,  and  has  been  the  subject  of  much  discussion.  Dr.  Bode  believes 
the  central  relief  to  be  by  Luca,  but  the  frame  a misfit  and  a later  product  of 
the  school.  Miss  Cruttwell  and  Marcel  Reymond  attribute,  apparently,  both 
the  relief  and  the  frame  to  Andrea  della  Robbia. 


Fig.  41.  The  Cappuccini  Tondo. 


That  there  is  a disparity  between  the  relief  and  the  frame  is  evident, 
but  in  neither  do  I detect  the  handiwork  of  Andrea  della  Robbia.  The  frame 
consists  of  a wreath  of  flowers,  arranged  in  closely  united  bunches  bound 
together  by  a spiral  ribbon.  There  is  little  variety  in  the  composition  of 
the  frame,  the  same  three  bunches  of  flowers  being  repeated  six  times  about 
the  circle.  The  bunches  are  composed  in  accord  with  Luca's  love  of  irregu- 
larity and  show  nothing  of  Andrea's  elegant  but  monotonous  composition. 


72 


LUCA  DELLA  ROBBIA 


The  frame  not  only  lacks  variety  in  design,  but  is  crudely  modelled  and 
coloured.  It  is  the  work  of  some  assistant. 

The  Madonna  is  a woman  of  stately  loveliness  of  the  Via  dell’  Agnolo 
type.  She  holds  herself  erect  in  the  clouds  and  looks,  like  many  of  Luca’s 
Madonnas,  directly  out  upon  the  world.  The  details  of  her  features,  hair, 
eyes  (colouring  included),  nose,  mouth,  chin,  and  of  the  drapery  are  pre- 
cisely as  Luca  would  have  made  them.  Nor  do  we  have  to  look  to  Andrea’s 
works  for  analogies  for  the  Child.  Almost  a duplicate  of  the  upper  part  of 
the  Child  may  be  seen  in  Luca’s  Madonna  and  Child  with  an  Apple,  in  the 
Kaiser-Friedrich  Museum,  and  the  lower  part  of  Luca’s  Madonna  and 
Child  in  a Niche,  represented  in  the  Bliss  and  Shaw  collections  in  New  York 
and  Boston.  Andrea  borrowed  this  motive,  hut  expressed  it  in  a different 
composition  and  with  another  type  of  child.  The  adoring  angels  are  not  so 
fine  as  those  in  Luca’s  lunettes,  and  the  yellow  haloes  coloured  by  some 
assistant  do  not  add  to  their  beauty.  However,  in  attitude,  in  type,  in  rela- 
tive size,  they  are  Luca’s,  not  Andrea’s.  These  angels  are  somewhat  dis- 
turbing elements  in  the  composition,  as  if  transferred  arbitrarily  from  a 
lunette  to  a circle  before  the  laws  of  circular  composition  were  thoroughly 
understood.  If  we  could  eliminate  these  angels,  with  their  yellow  haloes  and 
the  crudely  executed  frame,  critics  would  find  little  difficulty  in  admitting 
this  charming  Madonna  to  be  the  handiwork  of  Luca  himself. 

BIBLIOGRAPHY 

Bode,  A.  S.  A.,  II  (1889),  6;  J.  k.  p.  K.,  XXI  (1900),  18;  Denkm.  72,  Taf.  220;  FI. 

Bildh.,  135;  FI.  Sc.,  94;  Burlamacchi,  49,  no;  Cavallucci  and  Molinier, 
215,  XTo.  62;  Cruttwell,  178,  325;  de  Foville,  75-/6;  Marquand,  A.  J.  A., 
IX  (1894),  13-14,  PI-  2;  Reymond,  D.  R.,  166-168;  Sc.  FI.,  Ill,  p.  VIII, 
157;  Schubring,  79,  Abb.  79;  Supino,  442,  N'O.  27. 


LUCA  DELLA  ROBBIA 


73 


18  THE  RESURRECTION  LUNETTE.  Florence.  Duomo.  S.  Maria 
del  Fiore,  1442-1445.  H.,  2.00  m. ; W.,  2.60  m.  Photos.,  Alinari, 
No.  1974;  Brogi,  No.  4920. 

Above  Luca's  bronze  doors  of  the  north  sacristy  and  below  the 
original  location  of  bis  marble  Cantoria  is  in  a pointed  arch  a glazed  terra- 
cotta lunette  of  the  Resurrection  (Fig  42).  The  documents,  here  published 


Fig.  42.  The  Resurrection  Lunette. 


for  the  first  time,  show  that  Luca  received  the  commission  for  this  relief  in 
1442,  and  did  not  finish  it  before  the  early  months  of  1445.  At  this  time 
Paolo  Uccello  was  designing  for  one  of  the  windows  of  the  drum  of 
the  dome  a Resurrection  of  a very  similar  character  (A.  J.  A.,  IV 
(1900),  198,  Fig.  2;  Poggi  LXXXVIII,  143,  Doc.  750).  Both  designs 


74 


LUCA  DELLA  ROBBIA 


are  more  or  less  dependent  on  Ghiberti’s  Resurrection  on  the  first  Baptistery 
doors.  In  this  relief,  four  adoring  angels,  with  folded  hands  or  hands 
crossed  upon  the  breast,  emerging  from  clouds  in  Giottesque  fashion,  give 
to  the  composition  a stiff,  symmetrical  character.  The  calm,  dignified 
Christ,  already  risen  and  standing  on  a cloud,  holds  over  his  left  shoulder 
the  Crusaders’  banner  and  with  his  right  hand  is  blessing  the  world  that 
crucified  him.  He  wears  a cruciferous  halo  and  shows  the  stigmata  upon 
his  left  hand.  The  sarcophagus  is  of  the  utmost  simplicity.  We  see 
into  it  a short  distance,  the  design  having  been  executed  for  the  eye  of  a 
spectator  standing  on  the  studio  floor.  The  ground  upon  which  the  figures 
are  reclining  slopes  downward,  so  that  the  lower  parts  of  the  design  be- 
came visible  when  the  relief  was  elevated  to  its  position  over  the 
sacristy  door.  The  palm  and  olive  trees  in  the  background  are  executed  in 
the  conventional  style  of  the  goldsmiths.  Luca’s  skill  as  a sculptor  is  seen 
best  in  the  sleeping  soldiers.  Neither  Ghiberti  nor  Paolo  Uccello  had  been 
so  successful  in  portraying  relaxed  limbs  in  the  various  stages  of  sleep.  In 
the  types  of  the  sleeping  soldiers,  and  in  the  ornaments  of  their  armour, 
it  is  not  difficult  to  recognize  the  same  hand  that  designed  the  Peretola 
tabernacle  and  the  S.  Pietro  reliefs  exhibiting  here  greater  freedom  in 
plastic  form  and  composition,  and  more  charm  in  the  details  of  decoration. 
The  Christ  type  is  a new  inspiration  and  one  the  impress  of  which  may  be 
traced  in  the  bronze  doors,  in  the  Pazzi  medallions,  and  in  the  Impruneta 
tabernacles. 

This  relief  shows  more  fully  than  the  Peretola  tabernacle  that 
glazed  terra-cotta  could  be  effectively  substituted  for  marble  in  relief  sculp- 
ture. The  figures,  trees,  sarcophagus,  and  even  the  ground  on  which  the 
soldiers  are  sleeping  are  glazed  in  white  against  a sky  of  blue.  The  cloud 
on  which  Christ  is  standing  is  not  white,  but  a lighter  blue  than  the  back- 
ground. Other  than  this,  no  colour  is  used,  except  to  mark  the  eyes.  The 
eyes  of  the  Christ  have  dark  pupils  and  yellow  irises,  but  no  colour  marks 
the  eyebrows  or  lashes.  The  angels  have  gray-blue  irises.  Other  details, 
such  as  the  hair  and  wings  of  the  angels,  the  cross  on  the  nimbus  of  the 
Christ,  his  stigmata,  the  glory  that  radiates  from  his  body,  the  ornaments 
of  the  soldiers’  armour,  are  brought  out  by  superficial  gilding. 


LUCA  DELLA  ROBBIA 


75 


DOCUMENTS 

[Published  here  for  the  first  time.  Copied  by  Signorina  Eugenia  Levi.] 

1.  1442,  luglio  21.  Item  locaverunt  Luce  Simonis  della  Robbia, 
scultori,  ad  faciendum  in  archo  supra  sacrestiam  sui  perghami  Resurrexio- 
nem  Domini  in  terra  cotta  invetriata  prout  videntur  alia  laboreria  fieri  et 
secundum  designum  factum  et  melius  si  melius  fieri  potest  et  promisit  dare 
perfectam  bine  ad  unum  annum  et  operarii  promiserunt  dare  illud  pretium 
fiendum  per  homines  eligendos  per  consules  et  operarios  cpii  tunc  temporis 
erunt  cum  hoc  quod  possit  dare  duos  suspectos ; que  omnia  etc.  promixit 
actendere  etc.  sub  pena  lib.  C.  Presentibus  Filippo  Brunelleschi,  Ridolfo 
(Lotti),  Andrea  Lazeri,  Simone  Laurentii  et  aliis. 

[Bastardelli,  Serie  No.  Ill,  c.  32.] 

2.  1444,  Gennaio  18.  (New  style,  1445.)  Luce  Simonis  della  Robbia 
conduetori  ad  faciendum  unam  storiam  di  terra  conductam  supra  (cancelled 
and  corrected)  in  archum  prima  sacrestie,  1.  L fp.  pro  parte  dicti  laborerii 
facti  et  positi  in  dicto  archu.  [Stanziamenti,  G,  c.  31.] 

3.  1444,  Febbr.  26.  (New  style,  1445.)  Luce  Simonis  della  Robbia 
intagliatori  1.  CCCCNL  sunt  pro  resto  et  integra  solutione  unius  laborerii 
invetriati  (in  margine : in  quo  est  Resurrexio  Domini  nostri)  facti  et  positi 
in  archo  prima  sacrestie,  videlicet  1.  CNL  pro  sua  industria  et  inventione  ad 
inveniendum  dictum  laborerium  et  residuam  pro  suo  magisterio  dicti  labo- 
rerii alias  libras  C quas  iam  habuit  super  dicto  laborerio  in  quo  est  Resur- 
rexio domini  nostri  Jesu  Christo  (the  last  words  after  laborerio  are 
cancelled  and  the  word  laborerio  is  corrected  into  conducta).  [Stanz., 
G,  c.  38.] 


BIBLIOGRAPHY 


XVI  cent., 

XVII  cent, 

XVIII  cent, 

XIX  cent. 


XX  cent. 


Anon.  d.  Cod.  Magi,  80;  Billi,  45;  Vasari,  II,  1 73,  201; 

Bocchi-Cinelli,  60;  Del  Migliore,  30; 

Richa,  VI,  149; 

Baldinucci,  V,  219;  Bode,  Kf.,  12,  23;  A.  S.  A.,  II  (1889),  3;  Cavallucci, 
II,  137;  Cavallucci  et  Molinier,  41,  52-54,  209,  No.  22;  Doering-Dachau, 
11 ; Labarte,  IV,  433;  Marquand,  Sc.  Mag.,  1893,  692;  Perkins,  T.  S.,  196; 
H.  H.,  142;  Reymond,  D.  R.,  30-32;  Sc.  FI.,  II,  189-191; 

Bode,  It.  PI.,  85;  J.  k.  />.  K.,  XXI  (1900),  5;  Dcnkm.  60,  Taf.  210; 
FI.  \Bildh.,  113,  Abb.  65;  FI.  Sc.,  78,  PL  37;  Burger,  123;  Burlamacchi,  25, 
108;  Cruttwell,  71,  323;  de  Foville,  25  43;  Michel,  IV,  78;  Schubring, 
39-42,  Abb.  33;  Venturi,  VI,  562;  Waters,  190. 


LUCA  DELLA  ROBBIA 


/6 

19  THE  ASCENSION  LUNETTE.  Florence,  Duomo.  S.  Maria  del 
Fiore.  1446-1451.  IT,  2.00  m. ; W.,  2.60  m.  Photos.,  Alinari,  No. 
1973;  Brogi,  No.  4908. 

The  Cathedral  archives  show  that  Luca  della  Robbia  received  on 
October  it,  1446,  a commission  for  a terra-cotta  relief  to  be  placed  above 
the  second  sacristy  door.  It  was  to  represent  the  Ascension ; to  contain 
figures  of  the  twelve  apostles  and  of  the  Virgin ; the  mountains  and  trees 
were  to  be  in  natural  colours ; the  work  was  to  be  done  in  a few  months 
and,  if  possible,  to  lie  even  better  than  the  small  model  presented. 

The  order  seems  to  have  been  filled  according  to  contract,  with  the 
exception  that  eleven  instead  of  twelve  apostles  are  represented  (Fig.  43). 
It  may  not  have  been  executed  as  quickly  as  the  commissioners  desired,  since 
we  find  as  late  as  December  23,  1450,  and  again  on  June  30,  1451,  that 
Luca  received  150  lire  for  this  relief.  These  payments  seem  to  have  been 
insufficient,  as  on  August  5,  1451,  we  find  Bernardo  Gamberelli  and  Pagno 
di  Lapo  Portigiani  appraised  the  work  at  500  lire. 

As  in  the  Resurrection  relief  the  figures  are  white  against  a background 
of  blue.  Unlike  it  the  accessories  are  in  natural  colours.  The  mountain  is 
a grayish  green,  and  the  trees  ’and  shrubs  a darker  green.  The  details  of  the 
eyes  show  also  some  progress.  In  addition  to  the  yellow  irises  the  eyes 
of  the  Christ  have  stippled  blue  eyebrows  and  blue  eyelashes.  The  Apostles' 
eyes  have  greenish-yellow  irises,  and  in  some  cases  the  lower  as  well  as  the 
upper  eyelashes  are  coloured. 

The  composition  shows  an  acquaintance  with  the  biblical  narrative. 
The  event  takes  place  on  the  Mount  of  Olives  (Acts,  I,  12)  ; in  the  presence 
of  the  Eleven  (S.  Mark,  XVI,  14-20)  ; Christ  lifts  up  his  hand  to  bless  them 
(S.  Luke,  XXIV,  50-51 ) ; a cloud  receives  him  out  of  their  sight  (Acts,  I,  9). 
The  simplicity  of  the  representation  stands  in  contrast  with  the  complexity 
of  Giottesque  representations  of  the  same  subject.  Here  the  Virgin  holds 
no  distinctive  position ; she  wears  no  halo  and  is  treated  as  one  of  the  Apos- 
tolic circle.  With  the  others  she  is  “gazing  up  into  heaven”  (Acts,  I,  11). 
All  the  members  of  this  group  show,  in  the  simplicity  of  their  adoration,  a 
spirit  like  that  which  Luca  had  already  given  to  the  S.  Elisabetta  at 
Pistoia.  They  are  arranged  in  studio  perspective  so  as  to  form  an  ellipse 
or  circle,  like  the  choral  dancers  on  the  Cantoria,  but  here  the  circle  is 
broken  to  give  greater  emphasis  to  the  ascending  Christ.  The  Apostles  are 


LUCA  DELLA  ROBBIA 


77 


somewhat  individualized.  We  may  recognize  S.  Pietro  in  the  front  of  the 
group  to  the  left,  S.  Tommaso  in  one  of  the  beardless  young  men  in  the 
group  to  the  right,  and  near  to  him  the  long-bearded  SS.  Andrea  and  Bar- 
tolommeo. As  kneeling  figures  they  are  somewhat  more  advanced  in  type 
than  the  S.  Elisabetta.  Their  draperies  are  arranged  so  as  to  reveal  more 
clearly  the  structure  of  the  kneeling  body. 

The  Christ,  as  in  the  Resurrection  relief,  wears  a cruciferous  nimbus, 
and  is  surrounded  by  golden  rays  which  emerge  from  his  body  in  successive 
groups,  but  he  is  somewhat  slenderer  in  proportion  and  a few  years  older. 


tjWk  JBw 

- VB  \ ^yjj 

/JL  I' 

i ■ m tf  yy  \ 1 

jjjjv  >/  j 4 

Fig.  43.  The  Ascension  Lunette. 


78 


LUCA  DELLA  ROBBIA 


\ 


DOCUMENTS 

[Quoted  from  v.  Rumohr,  II,  364-365,  and  from  Cruttwell,  294.] 

1.  1446.  Die  XI  mensis  Ottobris.  Operarii  antedicti  . . . loca- 

verunt  et  concesserunt  etc.  Luce  Simonis  della  robbia  scultori  presenti  et 
conducendi  ad  faciendum : Unam  storiam  terre  cocte  Invetriate  illius 

materie  qua  est  ilia  posita  in  arcu  sacristie  que  storia  debet  esse  vid.  As- 
censio  dni  nri  Yhu  XRI,  cum  duodecim  figuris  apostolorum  et  matris 
ejus  virginis  marie  et  quod  rnons  sit  sui  coloris  arbores  etiam  sui  coloris  et 
secundum  designum  factum  in  quodam  modello  parvo,  qui  stare  debet  in 
opera  usque  ad  perfectionem  dicti  laborerii  et  melius,  si  melius  fieri  potest. 
Quam  storiam  debet  perfecisse  bine  a decto  menses  proximos  futures  et 
posuisse  super  archum  secunde  sacristie  et  pro  qua  storia  et  Magisterio  debet 
abere  et  pro  suo  magisterio  labore  et  industria  illud  quod  declaratum  erit 
per  offitium  operariorum  venturorum  in  uffitio  existentium  etc. 

[Archivio  dell'  Opera  del  Duomo  di  Firenze.  Libro  Alloghagioni. 
Registro  segnato  I,  c.  54  ‘.] 

2.  1450.  23  Dicembre.  Luca  Simonis  della  Robbia  lib.  150  pro  parte 

locationis  sibi  facte  de  calmo  suprasecundam  sacrestiam. 

[Delib.  dei  Consoli  e Operai,  c.  17 \] 

3.  1451.  30  Giugno.  Luce  Simonis  della  Robbia  libras  centum  50 

pro  parte  solutionis  unius  storie  per  eum  facte  super  archetto  secunde 
sacristie.  [Delib.  cit. , c.  47.] 


BIBLIOGRAPHY 

XVI  cent.,  Anon.  d.  Cod.  Magi.,  80;  Billi,  45;  Vasari,  II,  173,  201; 

XVII  cent.,  Del  Migliore,  25; 

XVIII  cent.,  Richa,  VI,  148-149; 

XIX  cent.,  Baldinucci,  V,  219;  Barbet  de  Jouy,  29,  33,  56;  Bode,  Kf.,  12,  23;  A.  S.  A.' 

II  (1889),  3;  Cavallucci,  S.  M.  d.  F.,  II,  137  (Doc.);  Cavallucci  and 
Molinier,  45,  33-54  (Doc.),  209,  No.  23;  Labarte,  IV,  434;  Marquand, 
A.  J.  A.,  IX  (1894),  16 ; Perkins,  T.  S.,  196  ; H.  H .,  142 ; Reymond,  D.  R.,  32 ; 
Sc.  FI. J II,  189-191;;  v.  Rumohr,  II,  364-363  (Doc.)  ; 

XX  cent.,  Bode,  /.  k.  p.  K.,  XXI  (1900),  5-7;  Denkm .,  61,  Taf.  21 1;  FI.  Bildli.,  1 13-114, 

Abb.,  64;  FI.  Sc.,  79-80;  Burlamacchi,  26,  98  (Doc.),  108;  Cruttwell,  71- 
72,  293-294  (Doc.),  323;  de  Foville,  43-44;  Doering-Dachau,  12,  Abb.  14; 
Michel,  IV,  78,  Fig.  54;  Venturi,  VI,  562,  Fig.  376;  Waters,  190. 


LUCA  DELLA  ROBBIA 


79 


20  HEADS  OF  PROPHETS  FOR  THE  BRONZE  DOORS.  Florence, 
Duomo,  S.  Maria  del  Fiore.  1445-1452.  The  quatrefoils  measure, 
H.,  0.15  m. ; W.,  0.12  m.  Photos.,  R.  H.  Rose  & Son,  Princeton, 
from  casts  by  Lelli,  Florence. 

The  general  consideration  of  the  bronze  doors  of  the  north  sacristy  of 
the  Cathedral  of  Florence  will  he  deferred  to  a subsequent  chapter.  The 
documents  there  published  appear  to  indicate  that  the  framework  of  the 
doors  was  executed  between  December  24,  1445,  and  January,  1452,  and  the 
panels  after  August  10,  1464.  This  is  our  justification  for  treating  the 
heads  in  this  chapter.  For  the  sake  of  convenience  they  are  reproduced 
from  plaster  casts  (Figs.  44-47),  and  are  arranged  as  they  occur  on  the 
doors.  The  series  begins  at  the  top  of  Fig.  44  to  the  left  and  ends  at  the 
base  of  Fig.  47  to  the  right. 

These  heads,  according  to  the  contract  awarded  to  Michelozzo,  Luca 
della  Robbia,  and  Maso  di  Bartolommeo,  are  designated  as  heads  of 
prophets.  There  is,  however,  little  effort  at  individual  characterization. 
Of  the  twenty-four  heads  six  are  female;  if  names  are  wanted,  let  us  call 
them  Deborah,  Miriam,  Judith,  Esther,  Rachael,  Huldah.  Two  heads  are 
helmeted,  possibly  Saul  and  David ; the  rest  are  young,  middle  aged,  and 
older  men.  They  seem  to  have  no  direct  relation  to  the  subjects  of  the  ad- 
joining panels.  Some  of  the  heads  are  so  realistic  in  character  that  we  are 
tempted  to  find  in  them  portraits  of  Michelozzo,  Maso,  and  Luca  della 
Robbia.  I am  strongly  inclined  to  consider  head  No.  1 of  Fig.  46  as  a 
portrait  of  Luca  himself. 

In  composition  these  heads  show  an  advance  upon  those  of  Ghiberti’s 
first  Baptistery  doors.  Here  the  uppermost  look  downward,  the  lowest 
upward,  the  outermost  inward.  Like  Ghiberti's  they  are  set  in  quatrefoils. 
In  style  they  are  not  far  removed  from  Ghiberti’s.  Possibly  the  Anonimo 
del  codice  Magliabechiano  was  right  in  declaring  (Frey’s  edition,  p.  73) 
that  Luca  della  Robbia  assisted  in  the  completion  of  Ghiberti’s  second  pair 
of  doors  for  the  Baptistery. 

There  is  still  some  uncertainty  in  regard  to  the  attribution  of  these 
heads.  Marcel  Reymond  attributes  to  Michelozzo  all  the  heads  that 
surround  the  four  Doctors  of  the  Church  (Figs.  45,  47)  while  Miss  Crutt- 
well  assigns  to  him  the  four  heads  above  the  panels  of  S.  Luca  and  S.  Marco 
(lowest  heads  in  Figs.  44,  46).  In  my  judgment  none  of  the  heads  are  by 


Fig.  44.  Heads  of  Prophets.  Upper  left  valve. 


Fig.  45.  Heads  of  Prophets.  Lower  left  valve. 


Fig.  46.  Heads  of  Prophets.  Upper  right  valve. 


Fig.  47.  Heads  of  Prophets.  Lower  right  valve. 


84 


LUCA  DELLA  ROBBIA 


Michelozzo  but  all  show  the  fostering  care  of  Luca  della  Robbia.  In  spite 
of  documentary  evidence  to  the  contrary,  two  of  the  heads — the  lowest  in 
Fig.  45 — seem  never  to  have  received  the  final  finishing  touches. 

As  a whole  these  heads  show  Luca's  preference  for  young  men  and 
young  women.  Some  of  the  male  heads  resemble  those  of  his  candelabrum- 
bearing angels,  while  some  of  the  female  heads  may  well  be  compared  with 
those  of  the  Visitation  group  at  Pistoia. 

[For  Documents  and  Bibliography  see  Chapter  IV,  under  No.  54.] 


LUCA  DELLA  ROBBIA 


85 


21  CEILING  AND  ROOF  OF  THE  CAPPELLA  DEL  SACRA- 
MENTO O DEL  CROCIFISSO.  Florence,  S.  Miniato.  1448. 
Photos.,  Alinari,  Nos.  3365-3365A;  Brogi,  No.  4993. 

On  June  27,  1447,  the  Arte  cl:i  Calimala  granted  permission  to  “a 
citizen  of  importance”  to  erect  a costly  marble  tabernacle  in  S.  Miniato  al 
Monte  (Fig.  48).  In  it  was  to  be  preserved  the  miraculous  crucifix  of 
S.  Giovanni  Gualberto,  which  was  removed  in  1671  to  S.  Trinita.  Hence 
the  name  Cappella  del  Crocifisso.  Its  decoration  was  to  consist  of  emblems 
of  the  Arte  di  Calimala.  On  June  10,  1448,  Piero  di  Cosimo  de’  Medici 
was  permitted  to  substitute  his  own  emblem  in  place  of  that  of  the  Arte  di 
Calimala.  The  Calimala  interest  however  was  represented  by  the  two 
bronze  eagles  clutching  bales  of  cloth,  set  as  acroteria  on  the  exterior  of 
the  Tabernacle.  These  were  made  by  Maso  di  Bartolommeo  from  January 
28,  1448,  to  April  22,  1449.  The  Medici  interest  was  represented  by  the 
seven  balls  on  the  lateral  acroteria;  the  three  feathers,  the  diamond 
ring,  and  the  scroll  inscribed  with  the  motto  semper,  carved  in  white 
marble  and  set  against  a Verde  di  Prato  background,  constituting  the  frieze 
of  the  tabernacle;  and  by  a marble  medallion  carved  with  an  eagle  or 
falcon  holding  the  diamond  ring  and  motto  Semper,  on  the  lunette  above 
the  rear  wall  of  the  tabernacle. 

This  tabernacle  is  attributed  by  Vasari  to  Michelozzo.  Vasari  also 
states  that  the  vault  is  by  Luca  della  Robbia.  What  would  be  more  natural 
than  that  Piero  de'  Medici,  who  employed  Luca  della  Robbia  to  make  a 
ceiling  for  his  study  in  the  Medici  palace  designed  by  Michelozzo,  should 
also  ask  both  these  artists  to  construct  and  decorate  for  him  this  little 
chapel  ? 

It  is  sometimes  asserted  that  Luca  della  Robbia  designed  the  feathers 
and  diamond  frieze,  it  being  presumed  that  this  is  constructed  of  terra- 
cotta, whereas  it  is  of  marble  and  was  doubtless  designed  by  the  architect. 
Miss  Cruttwell  is  tempted  also  to  attribute  the  marble  eagle  or  falcon  to 
Luca,  though  Vasari  expressly  attributed  it  to  Michelozzo.  It  may  be  as 
fine  as  the  eagle  on  the  Bronze  Doors,  but  it  is  inferior  to  the  eagle  in  the 
S.  Giovanni  medallion  in  the  Pazzi  Chapel.  To  Luca  may  certainly  be 
attributed  the  execution  if  not  the  design  of  the  glazed  terra-cotta  vault, 
and  the  roof  tiles. 

The  covering  of  the  roof  forms  a scale  pattern  in  which  every  alternate 


Fig.  48.  Cappella  del  Crocifisso. 


LUCA  DELLA  ROBBIA 


§7 


horizontal  row  is  glazed  white,  the  intervening  rows  being  composed  of 
alternating  green  and  lavender  tiles.  Luca  employed  the  scale  pattern  again 
in  the  ceiling  of  the  Portogallo  Chapel  in  this  same  church.  The  coffered 
ceiling  (Fig.  49)  is  divided  into  rows  of  octagons  and  small  squares.  Both 
are  adorned  with  leaf  and  dart,  and  egg  and  dart,  mouldings.  The  octagons 
contain  central  rosettes,  composed  of  leaves  which  radiate  directly  or  spir- 
ally, surrounded  by  gilded  rays  painted  against  a blue  background.  The 
squares  contain  bronze  stars,  the  most  accessible  of  which  have  disappeared. 
The  plat  band  which  forms  the  contour  of  octagons  and  squares  is  decorated 


Fig.  49.  Ceiling  of  Cappella  del  Crocifisso. 


with  a sunken  laurel  leaf  pattern  with  rosettes  at  every  angle.  Luca  had 
used  the  same  motive  in  decorating  the  frames  of  the  tambourines  of  the 
Cantoria  reliefs.  Besides  the  white  and  blue,  the  bronze  and  the  gold, 
various  details  such  as  the  rosettes,  are  marked  with  colour. 


DOCUMENTS 

[Quoted  from  Berti,  Cenni  Stor.  di  S.  Miniato,  151,  and  from 
the  Libro  di  Ricordi  di  Maso  di  Bartolommeo  da  Firenze,  kept  in  the  Biblio- 
teca  Roncioniana,  Prato.  Copied  by  Signorina  Eugenia  Levi.] 

1.  1447.  Adi  27  di  Giugno.  Altare  del  Crocifisso  possa  essere 

ornato  da  un  Cittadino  grande  che  si  offerira  fare  un  tabernacolo  di  grande 
apparenza  e spesa ; e questo  se  li  concede  con  che  non  vi  possa  mettere  altra 
arme  che  quella  dell’  Arte.  [From  Ms.  in  Strozzi  Collection.] 


LUCA  DELLA  ROBBIA 


2.  1448.  Adi  10  di  Giugno.  Piero  di  Cosimo  dei  Medici  nell’ 

ornamento  di  marmo  che  fa  alia  cappella  del  Crocifisso  possa  farvi  scolpire 
la  sua  arme,  purche  nel  luogo  piu  conveniente  vi  metta  cpiella  dell’  Arte, 
non  ostante  che  altra  volta  fosse  stato  deliberato  il  contrario.  [From  Ms.  in 
Strozzi  Collection.] 


3.  1448.  Oui  da  pie  faro  richordo  di  tutte  le  spese  che  io  faro  in 

fare  due  Aquile  d'ottone  per  mettere  in  su  la  chappella  de  marmo  fata  per 
Piero  di  Coximo  ne  la  Chiexa  di  sanmyniato  al  monte  et  le  dette  aquile 
sono  d’alteza  di  b.  1.  Incominciale  a di  28  di  giennaio. 

E prima  a di  30  di  giennaio  per  libre  16  di  ciera 

per  sol.  9,  d.  6 la  lib L.  7,  sol.  16,  — 

A di  detto  per  lib.  6 di  pecie  per  d.  20  la  libra, 

in  tutto  soldi  10 L.  - — , sol.  10,  — 

A di  detto  per  lib.  6 di  sevo  per  sol.  2,  d.  6 la  libra 

e libre  3 di  nero  per  sol.  1,  la  lib.  monta L.  — , sol.  18,  — 

A di  6 di  febbraio  per  lib.  5 di  piastra  di  ferro 
bombarda  per  fare  lalie  di  dette  aquile  per  sol. 

6 la  libra  da  papi  ferravechio L.  1,  sol.  16,  — 

A di  17  di  febbraio  per  lib.  17  di  ciera  nera  tolsi 
da  Lorenzo  di  . . . horafo  per  sol.  5,  d.  6 la 

libra  monta  in  tutto L.  4,  sol.  13,  — 

Adi  11  di  marzo  per  2 pezi  di  legnio  dalbero  per 
fare  2 balle  sotto  2 altre  Aquile  che  Piero  me 

fece  fare  minori  et  altre  rimasone L.  — , sol.  4,  — 

A di  14  di  marzo  per  cimature  per  le  forme  sol. 

4,  d.  8 L.  — , sol.  4,  d.  8 

A di  detto  per  2 some  di  legnie  grosse  per  sechare 

le  forme  L.  — , sol.  19,  — 

A di  detto  per  pecie  e nero L.  - — , sol.  4,  — 

A di  21  d’Aprile  lib.  300  di  bronzo  che  fu  un 
lione  che  mi  dette  per  gittare  l’aquile  dette. 

Ebbilo  da  Lionardo  Bartolini  per  L.  ...  el 

cento  L.  65,  — , — 

A di  21  d’Aprile  per  some  4 di  legne  grosse 

L.  2,  sol L.  2,  sol.  — , — 

A di  detto  per  some  2 di  charboni  pesarono  libr. 

1092  monta  L.  6,  sol.  19,  — 

A di  detto  per  libr.  150  d’ottone  fine  da  Antonio 

Chalandri  L.  37,  sol.  10,  — 

[Libro  di  Ricordi,  c.  1 l.] 


4.  Giovanni  di  Ser  Vincenzo  dee  dare  a di  26  d’aprile  L.  tre  quando 
mi  parti  per  andare  a Urbino;  disse  di  lavorare  in  sul  Aquile  tantoche  gli 
schonterebbe. 

[Libro  di  Ricordi,  c.  42  l.] 


5.  E insu  laquile  cbe  vano  a saminiato  (in  monte)  . . . Giovedi  a 
di  27  (marzo)  interrai  laquile  dette. 

[Libro  di  Ricordi,  c.  45  .] 

6.  A di  22  di  aprile  1449  . . . gettamo  laquile. 

[Libro  di  Ricordi,  c.  45  ‘.] 


LUCA  DELLA  ROBBIA 


89 


BIBLIOGRAPHY 

XVI  cent.,  Albertini,  17;  Anon.  d.  Cod.  Magi.,  80;  Vasari,  II,  175,  444; 

XVIII  cent.,  Richa,  III,  172; 

XIX  cent.,  Baldinucci,  V,  219;  Barbet  de  Jouy,  57;  Berti,  64-66;  151  (Doc.);  Bode, 

A'/.,  1 2,  23;  Cavallucci  et  Molinier,  60-61,  251,  No.  294  Fabriczy, 
J.  k.  p.  K.,  XXV  (1904),  Beih.,  39,  53  (Doc.);  Perkins,  T.  S.,  I,  198; 
Reymond,  D.  R.,  42-43;  Sc.  FI.,  II,  194-195;  Stegmann  und  Geymiiller,  II, 
14-15;  PI.  11-12,  Fig.  1 1 ; Yriarte,  52  (Doc.); 

XX  cent.,  Bode,  FI.  Bildh.,  120;  FI.  Sc.,  82;  Denkm. ; Burlamacchi,  28-29,  1 1 7 ; Crutt- 

well,  90-91,  323;  Schubring,  49;  Venturi,  VI,  572;  Waters,  1 9 1 . 

22  VAULT  AND  PAVEMENT  FOR  PIERO  DE’  MEDICI’S 
STUDY.  Florence,  Palazzo  Medici,  now  Riccardi. 

Filarete,  in  Book  XXV  of  his  Trattato,  where  he  treats  of  the  build- 
ings of  Cosimo,  Piero  and  Giovanni  de’  Medici,  after  mentioning  the 
camera  di  Piero  in  the  Palazzo  Medici,  Florence,  remarks:  Dopo  questa 

e wio  studietto  hornatissimo ; il  pavimento,  c cosi  il  cielo,  di  vetriamenti 
fatti  a figure  degnissime;  in  modo  die  a chi  if  entra,  da  grandissima  admira- 
tions. El  maestro  di  questi  invetriamenti  si  fu  Luca  della  Robbia;  cosi 
per  nome  si  chiarna;  il  quale  e dcgnissimo  maestro  di  questi  invetriati;  et 
anche  in  iscultura  si  dimonstra.  Vasari,  in  his  life  of  Luca  della  Robbia, 
mentions  this  room  in  the  following  words : Onde,  il  magnifico  Piero  di 

Cosimo  de’  Medici,  fra  i primi  che  facessero  lavorare  a Luca  cose  di  terra 
colonta,  gli  fcce  fare  tutta  la  volta  in  mezzo  tondo  d’uno  scrittoio  nel 
palazzo  edificato,  come  si  dird,  da  Cosimo  suo  padre,  con  varie  fantasie, 
ed  il  pavimento  similmente ; che  fu  cosa  singulare,  e molto  utile  per  la 
state.  Ed  e certo  una  miraviglia,  che,  essendo  la  cosa  altora  molto  difficile, 
e bisognando  avere  molti  avvertimeuti  nel  cuocere  la  terra,  che  Luca  com- 
ducesse  questi  lavori  a taut  a perfezione,  che  cosi  la  volta  come  il  pavi- 
mento paiono  non  di  molti,  ma  d'un  pezzo  solo. 

1 he  order  in  which  the  various  rooms  of  the  palace  are  described  by 
Filarete,  and  in  the  inventory  of  the  collections  of  Lorenzo  de’  Medici, 
published  by  Muntz,  makes  it  probable  that  Piero’s  study  was  located 
in  the  site  of  the  present  grand  staircase.  It  is  well  known  that  Michelozzo 
was  the  architect  of  the  Medici,  now  Riccardi,  palace,  which  according  to 
Fabriczy  was  begun  in  1444.  It  is  interesting  to  note  that  Luca  della 
Robbia  and  Maso  di  Bartolommeo  took  part  in  the  decoration  of  this 
palace.  Maso  s share,  the  decoration  of  the  courtyard,  took  place  in  1452. 
Inasmuch  as  Michelozzo,  Luca  della  Robbia,  and  Maso  were  associated 


90 


LUCA  DELLA  ROBBIA 


together  in  1445  in  the  contract  for  the  bronze  doors  for  the  sacristy,  and 
in  1448  all  three  took  part  in  executing  for  Piero  de’  Medici  the  Cappella 
del  Crocifisso  for  S.  Miniato,  it  is  probable  that  Luca’s  work  for  Piero’s 
study  dates  between  1445  and  1450. 

When  in  1659  the  Medici  palace  passed  into  the  hands  of  the  Riccardi 
family  it  was  doubled  in  size  and  Piero’s  study  was  destroyed  to  make 
room  for  the  grand  staircase.  The  ceiling  must  have  been  still  in  good 


Fig.  50.  Month  of  May. 


condition  and  being  decorated  “a  figure  degnissime”  or  “con  varie  fantasie” 
it  is  probable  that  parts  of  it  at  least  were  preserved. 

The  Victoria  and  Albert  Museum,  London,  has  possessed  since  1861 
a series  of  roundels  (Nos.  7632-7643)  in  glazed  terra-cotta,  cn  which  are 
painted  impersonations  of  the  twelve  months  (Figs.  50-51).  Prior  to  1861 
they  belonged  to  the  Marchese  Campana,  and  earlier  still  are  said  to 
have  long  decorated  a fountain  in  a garden  near  Florence,  “supposed  to 
have  belonged”  to  the  Riccardi  family.  The  historic  evidence  conveyed  in 
these  statements  is  far  from  convincing,  hence  we  must  consider  chiefly 
the  plaques  themselves.  Sir  J.  C.  Robinson,  and  Mr.  Lethaby  have  ob- 
served that  they  are  not  flat,  but  delicately  curved,  the  axis  of  curvature 
in  the  case  of  May,  June,  July,  and  August  lying  across  the  figures,  and 


LUCA  DELLA  ROBBIA 


gi 


in  the  remaining  months  being  vertical  with  the  design.  Mr.  Lethaby’s 
diagram  reproduced  here  (Fig.  52)  shows  how  these  twelve  roundels,  each 
0.57  m.  in  diameter,  might  have  decorated  the  barrel  vault  of  a room  nine 
or  ten  feet  wide.  The  palace  of  Duke  Federigo  at  Urbino  still  contains 
a scrittoio  or  study  of  about  these  dimensions.  Between  the  roundels 
Luca  would  have  introduced  a mosaic-like  background  consisting,  as  Vasari 
states,  of  many  small  pieces  but  presenting  a united  and  solid  effect. 


The  attribution  of  the  roundels  to  Luca  della  Robbia  cannot  be  so 
readily  admitted.  The  water  leaf  and  dart  moulding  was  indeed  a favourite 
with  Luca,  and  in  this  case  closely  resembles  the  similar  mouldings  about 
the  panels  which  form  the  background  of  the  Federighi  tomb;  also  the 
very  charming  blue  and  creamy  white  is  altogether  worthy  of  Luca.  But 
it  is  impossible  to  recognize  in  the  figures  and  trees  the  design  of  Luca 
himself.  These  flat-headed,  long-limbed,  stiffly  draped  figures  are  not 
like  Luca’s,  nor  do  the  compositions  suggest  his  methods.  I see  no  reason, 
however,  why  Luca  may  not  have  furnished  the  enamel  and  supervised 
the  baking  of  these  delicately  constructed,  architectural  medallions. 

The  pavement  in  all  probability  when  worn  out  was  cast  aside.  But 
the  influence  of  Luca’s  design  may  be  recognized  in  other  pavements,  at 


92 


LUCA  DELLA  ROBBIA 


Empoli,  San  Gemignano,  S.  Fiora,  and  at  Montevarchi.  Of  these  perhaps 
the  earliest  is  at  Empoli.  It  stood  some  years  ago  in  the  Cappella  S.  Lor- 
enzo of  the  Collegiata,  but  has  recently  been  transferred  to  the  Galleria. 
It  measures  2.40  m.  by  1.53  m.  A portion  of  it  is  here  reproduced 
(Fig.  53).  The  general  design  represents  a fringed  carpet  covered  with 
leafy  hexagons  enclosing  rosettes.  The  rosettes  and  radiating  fern  leaves 
remind  us  of  Luca's  designs  at  Peretola  and  elsewhere.  The  network  of 


cubes  with  green,  yellow,  and  violet  faces  show  the  same  pattern  and 
colours  which  Luca  used  in  the  ceiling  of  the  Portogallo  Chapel,  but  here 
is  employed  with  a strange  disregard  of  fitness.  Similarly  the  other  bor- 
der with  its  reversed  palmettes,  though  beautiful  in  itself,  is  somewhat 
out  of  place.  It  would  decorate  better  the  frieze  of  one  of  Andrea 
della  Robbia’s  charming  altarpieces.  This  makes  it  probable  that  this 
pavement  was  not  designed  for  this  locality,  but  earlier  or  later  was  placed 
here  not  by  the  original  designer — but  by  one  of  his  successors.  In  the  other 
pavements  mentioned  above  this  design  remains  unchanged,  as  if  the  sacred 
invention  of  the  master.  Luca’s  pavement  for  the  study  of  Piero  de’  Medici 
may  have  passed  away,  but  its  soul  seems  to  have  survived  almost  intact  in 
this  beautiful  pavement  at  Empoli — made  in  all  probability  by  Luca’s 
nephew  Andrea  della  Robbia. 


Fig.  53.  Pavement  at  Empoli. 


94 


LUCA  DELLA  ROBBIA 


XV  cent., 

XVI  cent., 
XIX  cent., 


XX  cent., 


BIBLIOGRAPHY 

Filarete,  lib.  25,  p.  678  (Quellenschr.) ; 

Vasari,  II,  371,  433; 

Bode,  Kf.,  14,  26;  Cat.  Coll.  Campana,  Classe  IX,  p.  11,  Nos.  1-12;  Caval- 
lucci  et  Molinier,  59-70,  266,  No.  375;  Darcel,  22;  Fortnum,  24-27; 
Maiolica  in  S.  K.  Mus.,  XL-XLVI ; Labarte,  IV,  435-436;  Muntz,  Coil. 
Med.,  80;  Reymond,  D.  R.,  g$;  Sc.  FI.,  II,  217-218;  Robinson,  59;  Nos. 
7632-7643 ; Stegmann  und  Geymuller,  II,  19 ; 

Bode,  /.  k.  p.  K.,  XXI  (1900),  11-12;  FI.  Bildh.,  125-126;  FI.  Sc.,  86-87; 
Burlamacchi,  79-80,  119;  Cruttwell,  129-130;  Fabriczy,  J.  k.  p.  K.,  XXV 
(1904),  Beih.,  38;  de  Foville,  61;  Lethaby,  Burl.  Mag.,  IX  (1906),  404- 
407;  Marquand,  Brickbuilder,  1902,  55-56;  Schubring,  92,  Abb.  102; 
Wallis,  O.  L.  J„  XXX. 


23  CANDELABRUM-BEARING  ANGELS.  Florence,  Duomo, 
S.  Maria  del  Fiore.  1448-1451.  EL,  0.84  m. ; W.,  0.57  m.  Photos., 
Alinari,  Nos.  3508-3509;  Brogi,  Nos.  4910-4911°. 

On  June  28,  1448,  Luca  della  Robbia  was  authorized  to  receive  forty 
lire  on  account  of  two  terra-cotta  angels  for  the  Cappella  Corporis  Christi 
and  on  the  same  day  to  Domenico  di  Francesco,  painter,  was  voted  twenty- 
three  lire  for  painting  the  wings  of  the  same.  The  wings  were  to  be 
of  wood,  for  we  find  on  February  1,  1449,  that  Giovanni  di  Domenico  di 
Gaiole,  woodcarver,  was  credited  with  three  lire  on  account  of  the  wings 
for  said  angels.  Luca  evidently  considered  himself  underpaid,  for  on 
August  5,  1451,  on  the  basis  of  an  appraisal  made  by  Bernardo  Gamberelli 
and  Pagno  di  Lapo  Portigiani  he  was  authorized  to  receive  ninety  lire  for 
the  terra-cotta  angels  which  adorned  the  Cappella  Corporis  Christi. 

The  marble  tabernacle  which  stood  between  the  two  angels  was  made 
in  1443  by  Buggiano  (Andrea  di  Lazzaro  Cavalcanti)  and  completed  with 
the  assistance  of  others  in  1447  (see  Poggi,  op.  cit.,  CXVI-CXVII,  and 
Docs.  1089-1101). 

These  two  angels  still  exist,  but  have  been  transferred  to  the  south 
sacristy  of  the  Cathedral.  Designed  to  be  placed  one  on  either  side  of 
a ciborium  they  now  decorate  nothing.  The  glaze,  like  that  of  the  Pistoia 
Visitation,  is  imperfect.  They  stand  on  octagonal  plinths  which  are  set  into 
wooden  bases.  Both  angels  have  blue  eyebrows  and  upper  lashes,  and 
gray-blue  irises. 

1.  Candelabrum-Bearing  Angel  turned  to  right.  Photos.,  Alinari, 
No.  3508;  Brogi,  Nos.  4910-4910". 

The  angel  gracefully  kneeling  holds  on  his  left  knee  a candelabrum 


LUCA  DELLA  ROBBIA 


95 


decorated  with  a twisted  strap  ornament,  spiral  channellings,  upright  leaves 
and  radiating  ribs,  copied  doubtless  from  the  wooden  candlesticks  in  use 
upon  the  altar.  Brogi’s  photograph  (Fig.  54)  shows  faint  traces  of  a 
painted  border  of  the  mantle  over  the  left  leg,  also  the  damaged  fingers  and 
candelabrum,  now  repaired.  De  Foville  notes  the  similarity  between  this 
angel’s  right  hand  and  that  of  Luca’s  Madonna  of  the  Roses  in  the  Museo 
Nazionale.  The  resemblance  is  in  fact  close  enough,  even  though  the 
angel’s  index  finger  is  a modern  restoration.  Attention  may  be  called  to 
the  waving  hair,  the  finely  modelled  eyes,  nose,  and  mouth ; to  the  rosette 
used  as  a brooch  ; and  to  the  simple  lines  of  the  drapery,  recalling  those 
in  the  Ascension  relief. 


Fig.  54.  Candelabrum-bearing  Angel. 

2.  Candelabrum-Bearing  Angel  turned  to  left.  Photos.,  Alinari, 
No.  3509;  Brogi,  Nos.  4911,  491  ia. 

This  statue  seems  to  have  cracked  in  the  baking;  the  glazing  is  spotty 
and  in  some  places  finely  cracked.  Brogi’s  early  photograph  (Fig.  55) 


96 


LUCA  DELLA  ROBBIA 


preserves  some  trace  of  superficial  painting  on  the  left  sleeve  and  on  the 
border  of  the  mantle.  The  candelabrum  is  decorated  like  the  preceding, 
but  it  may  be  noticed  that  the  rib  decoration  is  not  mechanically  accurate. 
As  contrasted  with  the  preceding  angel  this  one  has  his  hair  in  flatter 
meshes,  he  has  a more  open  countenance;  his  rosette  brooch  holds  to- 
gether his  mantle,  not  the  tunic.  Like  his  brother  he  is  not  wholly  absorbed 
in  his  function,  but  looks  out,  boy-like,  to  the  congregation  gathered 
before  the  altar. 


Fig.  55.  Candelabrum-bearing  Angel. 


DOCUMENTS 

[Quoted  from  Poggi,  Ital.  Forsch.,  II,  2 22.] 

1.  (Poggi,  No.  1104.)  1448,  adi  28  di  giugno. 

Luce  Simonis  della  Robbia,  intagliatori,  1.  XL  fp.,  pro  parte  dena- 
riorum  abere  debet  pro  duobus  angelis  di  terra  factis  pro  tenendo  in  capella 
corporis  Christi.  [Delib.,  1447-  1449,  c.  5/  *.] 

Dominico  Francisci,  pictori,  1.  XXIII  fp.,  pro  suo  magisterio  ad 


LUCA  DELLA  ROBBIA 


97 


pingendum  duos  angelos  qni  retinentur  in  capella  corporis  Christi.  [Delib., 
1447-1449  c.  52 .] 

2.  (P.  1106.)  1449.  adi  1 di  febbraio. 

Item  declaraverunt  quod  Johannes  Dominici  de  Gaiole  legnaiuolus, 
ponatur  creditor  1.  Ill  pro  duo-bus  pariis  alarum  fact  arum  angelectis  in 
capella  corporis  Christi.  [Delib.,  1447-1449,  c.  63  *.] 

3.  (P.  1 1 13.)  1451,  adi  5 cli  agosto. 

Et  etiam  viso  raporto  de  duo-bus  angelis  per  eum  [. Luc  am  Simonis  della 
Robbia]  factis  sunt  in  capella  corporis  Christi,  [delib eraverunt]  ipsum  pro 
suo  magistero  et  labore  debere  abere  libras  XC  de  dictis  cluobus  angelis 
terre  chotte  sine  aliquo  co-lore  qui  retinentur  in  dicto  loco,  pro  ornamento 
corporis  Christi.  [Delib.,  1430-1434,  c.  34.] 

BIBLIOGRAPHY 

Bode,  Kf.,  14;  A.  S.  A.,  II  (1889),  3;  It.  PL,  85;  /.  k.  p.  K.,  XXI  (1900),  7;  Denkm.,  62, 
Taf.  219;  FI.  Bildlt.,  1 1 7 ; FI.  Sc.,  80,  Pi  38;  Burlamacchi,  28,  108;  Caval- 
lucci,  II,  137;  Cavallucci  et  Molinier,  56,  209,  No.  25;  Cruttwell,  89, 
294  (Doc.),  323;  Doering-Dachau,  15,  Abb.  21,  22;  de  Foville,  33,  48; 
Marquand,  5c.  Mag.,  1893,  6g2;  Michel,  IV,  80,  Milanesi,  II,  201,  202; 
Poggi,  CXVII,  Figs.  84-85,  222-223,  Docs.  Nos.  1104,  1106,  1113;  Rey- 
mond,  D.  R.,  41;  Sc.  FI.,  II,  193-194;  Schubring,  43,  Abb.  38;  Venturi,  VI, 
572,  Fig.  383;  Waters,  190. 

24  A SPIRITELLO.  Florence.  Palazzo  dei  Priori.  1449.  Missing. 

In  September,  or  October,  1449,  we  are  told  in  an  official  document, 
the  copy  of  which  is  preserved  by  the  Strozzi  family,  Luca  della  Robbia  made 
a spiritello  to  be  placed  above  the  door  of  the  Cancelleria  of  the  Palazzo 
dei  Priori. 

This  no  longer  exists  and  its  form  is  now  a matter  for  conjecture. 
Milanesi  defines  it  as  a puttino,  which  is  sufficiently  vague.  It  is  likely  to 
have  signified  or  suggested  the  divine  approval  which  should  cover  the  pro- 
ceedings of  the  Cancelleria.  Was  it  an  angel  inspired  by  the  candelabrum- 
bearers  of  the  Cathedral,  or  a cherub  head,  like  those  of  the  Federighi 
Tomb,  or  an  emblem  of  the  Holy  Spirit,  like  that  in  the  Peretola  Taber- 
nacle, or  a figure  of  Justice?  This  question  must  remain  unanswered. 


DOCUMENT 
[Quoted  from  Gaye,  Cartcggio,  I,  559.] 

1449,  Sept. -Oct.  “Luca  della  Robbia  fa  un  spiritello  sopra  la  porta 
della  cancelleria  de’  Signori  Priori.”  [From  Ms.  in  Strozzi  Collection.] 

BIBLIOGRAPHY 

Burlamacchi,  30;  Cavallucci  et  Molinier,  25;  Cruttwell,  128,  276;  Gaye  I,  559  (Doc.); 
Milanesi,  II,  201. 


98  LUCA  DELLA  ROBBIA 

25  MEDALLIONS  OL  S.  ANDREA  AND  OL  THE  TWELVE 
APOSTLES.  Florence,  S.  Croce,  Capitolo  e Cappella  di  S.  Andrea 
(Pazzi  Chapel).  Diam.,  1.34  m.  Photos.,  Alinari,  Nos.  3542-3543, 
3549-3551 ; Brogi,  Nos.  5859,  5843-5854. 

Fabriczy  in  his  noteworthy  volume  on  Brunelleschi,  shows  that 
the  Pazzi  Chapterhouse  or  Chapel  was  begun  in  1429  or  1430;  that  pay- 
ments were  made  for  it  by  Andrea  dei  Pazzi  as  late  as  1442;  it  was  so  far 
finished  in  1443  that  Pope  Eugenius  IV  was  entertained  in  a room  above 
the  chapel;  that  in  1451,  six  years  after  the  death  of  Andrea  dei  Pazzi, 
his  son  Antonio  made  a will  agreeing  to  pay  one  third,  if  his  brothers 
Jacopo  and  Piero  would  each  contribute  a third  of  the  expense  for  the 
completion,  perfection,  and  ornamentation  of  the  chapel;  that  in  1457  the 
three  branches  of  the  family  were  still  taxed  for  this  purpose;  that  in 
1469  they  were  no  longer  so  taxed,  although  in  1478,  just  before  the 
fatal  termination  of  the  Pazzi  conspiracy,  Giuliano  da  Maiano  entered  a 
claim  for  work  done  for  the  chapel.  The  documents  cited  do  not  specify 
Luca  della  Robbia  as  the  sculptor  employed.  The  earliest  witnesses  for 
his  authorship  are  Albertini  and  Vasari.  Vasari  states  that  all  the  glazed 
terra-cotta  figures  outside  and  inside  the  chapel  are  by  him. 

It  would  seem  natural  that  the  medallion  over  the  entrance  would  be 
designed  first,  and  that  the  medallions  for  which  Brunelleschi  had  left 
open  spaces  within  the  chapel  would  soon  follow. 

I.  S.  Andrea.  Photo.,  Brogi,  No.  5859. 

The  figure  over  the  entrance  door  is  referred  to  as  God  the  Father, 
as  Christ,  and  as  S.  Andrea  (Fig.  56).  There  can  be  little  doubt  that 
Andrea  dei  Pazzi  intended  to  place  here  the  image  of  his  patron  saint, 
Who  moreover  is  represented  with  the  same  symbols  in  one  of  the  medal- 
lions of  the  Apostles  in  the  interior  of  the  chapel.  The  head  and  shoulders 
with  their  background  appear  to  have  been  cast  in  one  piece,  the  right  arm 
and  the  cross  in  another,  the  rest  of  the  body  in  a third,  with  additional 
sections  for  the  remaining  background.  The  figure  is  glazed  in  white,  the 
eyes  having  gray-blue  irises  and  dark  pupils.  The  eyebrows  and  upper 
lashes  are  marked  with  dark  blue,  but  the  irises  lack  the  usual  dark  boun- 
dary circles.  The  cross  is  of  a light  sea  green  colour.  The  blue  background 
is  subdivided  by  a series  of  concentric  bands,  darker  toward  the  periphery, 


LUCA  DELLA  ROBBIA 


99 


possibly  to  indicate  the  seven  heavens.  Golden  rays  emanate  from  the 
figure  and  radiate  in  all  directions. 

S.  Andrea,  here  represented  without  a halo,  has  a strong  face,  recall- 
ing, according  to  Miss  Cruttwell,  some  antique  statue  of  Zeus.  According 
to  Schubring,  this  is  a possible  portrait  of  Andrea  dei  Pazzi  himself.  As  the 


Fig.  56.  S.  Andrea. 


light  breaks  through  the  central  arch  of  the  colonnade  and  passes  across 
the  portico,  it  throws  into  view  this  patron  saint  as  the  presiding  genius 
of  the  building — not  a Greek  divinity,  not  a Florentine  lord,  but  a glorified 
peasant  fisherman  from  the  Sea  of  Galilee. 

II.  The  Twelve  Apostles.  The  interior  decorations  consist  of 
twelve  wall  medallions,  with  white  figures  on  blue,  representing  the 
Apostles,  and  four  polychrome  medallions  of  Evangelists  in  the  pendentives 
of  the  dome.  We  are  here  concerned  only  with  the  twelve  Apostles, 
leaving  the  Evangelists  for  subsequent  consideration. 


IOO 


LUCA  DELLA  ROBBIA 


Each  of  the  twelve  medallions  contains  a single  figure  seated  upon 
clouds.  These  are  glazed  in  white,  their  eyes  being  indicated  by  yellow 
irises,  with  dark  blue  boundary-circles,  pupils,  lashes,  and  brows.  Each 
wears  a gilded  nimbus,  a robe  and  mantle,  has  bare  feet,  and  carries  his 
appropriate  symbol.  There  is  a studied  variety  in  the  character  of  the 
heads,  the  posture,  the  fall  of  the  drapery,  even  the  mode  of  tying  the 
girdle.  Their  hands  and  especially  the  feet  exhibit  careful  anatomical 
study.  The  blue  backgrounds  are  slightly  concave,  like  the  mediaeval 
bacilli,  which  decorated  the  walls  of  churches.  Streaks  of  gold,  superfi- 
cially applied,  radiate  from  the  figures  in  all  directions.  These  are  arranged 
in  groups  only  the  central  rays  of  which  reach  the  periphery.  The  clouds 
upon  which  the  Apostles  are  seated,  and  those  upon  which  their  feet  rest, 
are  somewhat  free  translations  in  black  and  white  of  the  stiff  clouds  of  the 
goldsmiths. 


Fig.  57.  S.  Matteo. 


The  medallions  are  arranged  in  the  following  order.  On  the  East 
side,  toward  the  altar,  reading  from  the  left  are  S.  Matteo,  S.  Pietro, 
S.  Giovanni  Evangelista,  S.  Jacopo  Maggiore ; next  on  the  South  are 
S.  Andrea,  S.  Jacopo  Minore;  on  the  West,  S.  Simone,  S.  Taddeo,  S.  Tom- 
maso,  S.  Filippo  ; and  on  the  North,  S.  Mattia  and  S.  Bartolommeo.  There 
is  no  artistic  interrelation  of  the  figures.  Each  is  turned  to  the  right  or  to 


LUCA  DELLA  ROBBIA 


IOI 


the  left  without  regard  to  the  pose  of  his  neighbour.  There  is,  however, 
this  much  selection.  The  major  Apostles,  S.  Matteo,  S.  Pietro,  S.  Giovanni 
Evangelista,  and  S.  Jacopo  Maggiore  are  not  only  given  the  position  of 
honour,  on  the  wall  near  the  altar,  but  they  are  set  against  backgrounds  on 
which  are  indicated  the  seven  circles  of  heaven. 

(i).  S.  Matteo.  Photo.,  Brogi,  No.  5844. 

S.  Matteo  in  the  seven  circles  of  heaven,  has  a pen  in  his  right  hand 
and  intently  gazes  upon  the  recently  written  text  (Fig.  57).  His  attendant 
angel  to  the  right  holds  an  inkstand  and  a book.  As  compared  with  the 
later  representation  of  the  same  evangelistic  apostle  on  the  bronze  sacristy 
gates  this  figure  is  modelled  with  more  effort  and  care.  The  drapery  of 
the  angel  reflects  the  rigid  art  of  the  goldsmith. 


Fig.  58.  S.  Pietro. 


(2).  S.  Pietro.  Photo.,  Brogi,  No.  5843. 

S.  Pietro,  whom  we  have  encountered  before  in  the  marble  reliefs  in 
the  Museo  Nazionale  and  in  the  Ascension  relief  of  the  Cathedral,  is  here 
more  richly  represented  in  his  papal  character  (Fig.  58).  He  wears  a 
fluted  halo,  two  fillets  on  his  head,  a large  pluvial  button  to  fasten  his 
mantle,  a stole  decorated  with  crosses,  while  his  right  hand  is  raised  in 
blessing  and  his  left  holds  a book  and  the  papal  keys.  The  concentric  circles 


102 


LUCA  DELLA  ROBBIA 


of  heaven  are  more  sharply  distinguished  than  in  the  other  neighboring 
medallions. 

(3).  S.  Giovanni  Evangelista.  Photo.,  Brogi,  No.  5854. 

This  is  one  of  the  most  successful  of  all  the  medallions  (Fig.  59). 
S.  Giovanni  Evangelista  arrests  his  pen  and  scans  intently  the  written  word, 
which  in  this  case  consists  of  mere  letters  and  signs  without  significance. 
Efe  has  a bald  head  and  long  beard,  in  strong  contrast  to  S.  Pietro.  His 
pose  is  carefully  studied,  that  of  the  right  hand  being  especially  noteworthy, 


Fig.  59.  S.  Giovanni  Evangelista. 


while  the  legs  are  without  the  awkwardness  of  those  in  several  of  the  other 
medallions.  The  folds  of  the  drapery  are  arranged  with  studied  regularity. 
The  eagle  is  no  dead  symbol,  but  a splendid  living  creature,  nobler  far 
than  the  eagle  in  the  polychromatic  medallion  of  S.  Giovanni  in  this  chapel 
or  the  eagle  on  the  bronze  sacristy  doors. 

(4).  S.  Jacopo  Maggiore.  Photo.,  Brogi,  No.  5853. 

S.  Jacopo,  as  special  patron  of  Jacopo  dei  Pazzi,  is  here  given  a post  of 
honbur  with  SS.  Matteo,  Pietro  and  Giovanni.  As  the  protector  of 
pilgrims,  he  carries  the  walking  staff  at  the  top  of  which  is  attached  a shell 
(Fig.  60).  We  may  note  the  long  swinging  lines  of  the  drapeiy,  still 


LUCA  DELLA  ROBBIA 


103 


somewhat  Ghiberti-like  in  its  folds ; also  the  sinewy  hands  and  feet.  Once 
again  did  Luca  represent  S.  Jacopo  Maggiore, — on  the  altarpiece  at 
Pescia,— but  with  less  vigour  and  nobility  than  here. 


Fig.  60.  S.  Jacopo  Maggiore. 

(5).  S.  Andrea.  Photo.,  Brogi,  No.  5852. 

As  in  the  more  imposing  medallion  over  the  entrance  S.  Andrea  is 
here  represented  holding  a cross  as  well  as  a book  (Fig.  61).  The  cross 


Fig.  61.  S.  Andrea. 


104 


LUCA  DELLA  ROBBIA 


has  the  form  of  the  Latin  cross,  not  the  X-shape  usually  associated  with 
S.  Andrea.  Possibly  the  Latin  form  was  more  suitable  in  medallion  com- 
position. S.  Andrea’s  mantle  is  somewhat  too  complicated,  and  the  instep 
of  his  left  foot,  seen  beneath  the  drapery,  extraordinary  high.  The  head, 
with  the  adjoining*  background,  was  cast  separately. 

(6).  S.  Jacopo  Minore.  Photo.,  Brogi,  No.  5851. 

S.  Jacopo  Minore,  carrying  a club  and  a book,  is  a figure  of  much  dig- 
nity (Fig.  62).  Noticeable  details  are  the  unusual  collar,  the  cord  and  tassel 


Fig.  62.  S.  Jacopo  Minore. 


which  fastens  the  mantle,  and  the  firm  cross-knot  of  the  girdle.  The  glaze 
at  the  outer  edges  of  the  relief  has  suffered  somewhat. 


(7).  S.  Simone.  Photos.,  Alinari,  No.  3551;  Brogi,  No.  5850. 

S.  Simone  is  posed  with  his  head  nearly  in  profile  (Fig.  63).  His  robe 
falls  in  simple  folds,  is  fastened  by  four  buttons  and  firmly  girdled ; his 
mantle  is  drawn  back  over  the  cloud  on  which  he  is  seated.  He  reads  from 
a volume  with  simulated  text.  His  right  foot,  fully  exposed,  has  been  care- 
fully modelled.  He  carries  no  distinguishing  attribute. 


LUCA  DELLA  ROBBIA 


Fig.  64.  S.  Taddeo. 

(8).  S.  Taddeo.  Photos.,  Alinari,  No.  3550;  Brogi,  No.  5849. 

This  figure  is  known  incorrectly  as  S.  Paolo,  but  S.  Paolo  is  elsewhere 
(Impruneta)  represented  by  Luca  della  Robbia  with  a long  beard  and 
a sword.  He  would  be  obviously  out  of  place  on  the  western  wall  in 
the  midst  of  minor  Apostles.  If  the  other  Apostles  are  correctly  named, 
this  can  be  no  other  than  the  remaining  Apostle,  S.  Taddeo  (Fig.  64). 


io6 


LUCA  DELLA  ROBBIA 


He  carries  a short  sword  and  a book.  His  left  foot  is  perhaps  faithfully 
studied  from  a model,  but  is  nevertheless  too  abnormal  to  be  pleasing.  The 
g'lazing  of  the  drapery  is  less  successful  than  is  usual  with  Luca  della 
Robbia. 

(9).  S.  Tommaso.  Photos.,  Alinari,  No.  3549;  Brogi,  No.  5848. 

S.  Tommaso,  one  of  the  younger  of  the  Apostles,  is  curiously  unravel- 
ling the  text  of  a scroll,  leaving  in  an  unbalanced  position  the  sacred  volume 
on  his  knee  (Fig.  65).  His  halo  is  bent;  his  hair  is  modelled  like  that  of 


Fig.  65.  S.  Tommaso. 


the  candelabrum-bearers  in  the  sacristy  of  the  Cathedral ; his  mantle  and 
gown  form  interesting  contours  about  his  neck  and  his  girdle  is  gracefully 
tied  about  his  waist.  The  form  of  his  feet  may  be  discerned  behind  the 
drapery.  Altogether  this  is  one  of  the  most  pleasing  of  the  medallions. 

(10).  S.  Filippo.  Photo.,  Brogi,  No.  5847. 

This  figure  has  been  named  S.  Filippo  (Fig.  66).  He  carries  no 
specific  emblem  except  the  book.  His  head,  pensive  and  strong,  and  his 
right  hand  are  well  modelled. 


LUCA  DELLA  ROBBIA 


107 


Fig.  66.  S.  Filippo. 


(11).  S.  Mattia.  Photo.,  Brogi,  No.  5846. 

This  figure,  without  other  emblem  than  the  book,  supports  his  tilted 
head  with  his  left  hand  (Fig.  67).  He  seems  to  be  reflecting  upon  the 
recent  tragedy  of  the  cross  and  upon  the  perfidy  of  his  predecessor  in  the 
Apostolate. 


Fig.  67.  S.  Mattia. 


io8 


LUCA  DELLA  ROBBIA 


(12).  S.  Bartolommeo.  Photo.,  Brogi,  No.  5845  . 

S.  Bartolommeo  carries  a knife  as  well  as  the  book  (Fig.  68).  He 
resembles  S.  Andrea  in  appearance. 

In  dating  these  medallions  I once  assigned  them  to  the  decade  1430- 
1440;  Miss  Cruttwell  sets  them  in  the  decade  1440-1450;  Marcel  Reymond, 
de  Foville,  and  Schubring  place  them  between  1450-1460;  and  Bode,  Burck- 
hardt  and  Fabriczy  in  the  period  1470-1478.  I cannot  see  in  them  any 
trace  of  Andrea  della  Robbia’s  hand,  nor  any  stylistic  characters  which 
would  prevent  their  being  assigned  to  the  decade  1440-1450.  The  medallion 


Fig.  68.  S.  Bartolommeo. 

of  S.  Andrea  over  the  front  door  was  probably  executed  before  the  death 
of  Andrea  dei  Pazzi  in  1445.  The  other  medallions  probably  followed 
soon  after;  possibly,  however,  not  until  after  Antonio  dei  Pazzi  made  his 
will  in  1451. 


BIBLIOGRAPHY 

XVI  cent.,  Albertini,  14;  Frey,  80,  310,  312;  Vasari,  II,  175; 

XVII  cent.,  Bocchi-Cinelli,  339; 

XVIII  cent.,  Richa,  I,  109-110; 

XIX  cent.,  Baldinucci,  V,  222;  Bode,  Kf.,  12;  A.  S.  A.,  II  (1889),  4;  It.  Bild.  Ren.,  83; 

Cavallucci  et  Molinier,  207;  No.  11;  Fabriczy,  25-26,  213-234;  Marquand, 
A.  J.  A.,  IX  (1894),  10;  Reymond,  D.  R..  66-67,  84-85,  90;  Sc.  FI.,  II, 
206,  210-214;  Stegmann  und  Geyniuller,  II,  5,  2. 

XX  cent.,  Bode,  J.  k.  p.  K.,  XXI  (1900),  9-10;  Denkm.,  64-65,  Taf.  239-242;  FI. 

Bildlu,  1 22-1 23;  FI.  Sc.,  83-84;  Burckhardt,  427-428,  Burlamacchi,  34-35, 
107;  Cruttwell,  72-79,  323;  Doering-Dachau,  15,  Abb.  15-17;  de  Foville, 
51-52,  79-83;  Michel,  IV,  87;  Schubring,  43-49,  Abb.  42-46;  Venturi, 
VI,  578;  Waters,  191. 


LUCA  DELLA  ROBBIA  lQg 

26  THE  FRESCOBALDI  MADONNA.  Berlin,  Kaiser  Friedrich 
Museum.  H.,  0.70  m. ; W.,  0.46  m.  Photo.,  Berlin  Museum. 

This  relief  (Fig.  69),  formerly  in  the  collection  of  the  Marchese  Fres- 
cobaldi,  was  purchased  through  Bardini  for  the  Berlin  Museum  in  1893. 
Its  authenticity  has  been  called  in  question  by  Marcel  Reymond,  but  his 
arguments  are  unconvincing.  To  the  minutest  detail  the  characteristics  of 
this  relief  are  those  of  Luca  della  Robbia.  The  background  is  an  uncom- 


Fic.  69.  The  Frescobaldi  Madonna. 


monly  beautiful  shade  of  blue.  The  Madonna  has  a throne  and  footstool 
of  clouds,  modelled  and  coloured  like  those  of  the  Apostles  on  the  side 
walls  of  the  Pazzi  Chapel.  Her  pose  is  very  similar  to  that  of  S.  Pietro  in 
that  chapel.  Her  head  is  of  a type  which  recurs  in  the  Virtues  in  the 
Portogallo  Chapel  at  S.  Miniato  and  in  the  angels  on  the  predella  of  the 


I IO 


LUCA  DELLA  ROBBIA 


Tabernacle  of  the  Holy  Cross  at  Impruneta.  Her  eyes,  with  violet  brows  and 
upper  lashes  and  pupils  and  gray-green  irises,  recall  those  of  the  Altman 
Madonna.  Her  robe  and  mantle  and  the  treatment  of  the  folds  are 
thoroughly  characteristic  of  Luca,  as  is  the  gilding  for  the  hair  and  the 
gold  ornamentation  which  has  not  wholly  disappeared  from  the  neckband 
of  her  robe  and  the  borders  of  her  mantle.  Her  feet,  exposed  or  traceable 
through  the  drapery,  are  precisely  similar  to  those  of  the  Pazzi  Chapel 
Apostles.  A Christ  child  of  this  type  we  shall  see  again  in  the  Madonna 
del  Fiore  of  the  Museo  Nazionale  and  in  the  bronze  sacristy  doors. 


BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  XXI  (1900),  24;  Denkm.,  75,  Taf.  224;  FI.  Bildh.,  146-147,  Abb.  19; 

FI.  Sc.,  103-104,  PI.  48;  It.  PI.,  86-87;  Burlamacchi,  75;  Cruttwell,  121, 
323;  Marquand,  A.  J.  A.,  IX  (1894),  10,  PI.  3;  Michel,  IV,  72;  Reymond. 
D.  R.,  120-123;  Sc.  FI.,  II,  230-231;  Schottmuller,  32-33,  No.  71  (I,  2180); 
Schubring,  76,  Abb.  73;  Venturi,  VI,  576,  Fig.  385;  La  Madonna,  32; 
Waters,  192. 


CHAPTER  III 


1450-1460 


CHAPTER  III 


1450-1460 

27  THE  URBINO  LUNETTE.  Urbino,  S.  Domenico.  1449-1450. 
H.,  0.93  m. ; W.,  2.34  m.  Photos.,  Alinari,  Nos.  15364;  17508. 

On  the  first  of  August  1449  Maso  di  Bartolommeo  began  to  receive 
from  the  syndics  and  procurators  of  the  Frati  di  S.  Domenico  d’Urbino 
payments  for  the  entrance  doorway.  His  Ricordi  give  us  a detailed  ac- 
count of  succeeding  payments  and  the  names  of  his  assistants.  We  are 
here  concerned  only  with  the  entry  of  1450,  June  19th,  when  Luca  della 
Robbia  was  paid  forty  florins,  eighteen  lire,  and  eight  bolognini  for  certain 
figures  to  be  placed  in  the  doorway,  viz.  a Nostra  Donna,  a S.  Pietro 


Fig.  70.  The  Urbino  Lunette. 


Martire,  and  S.  Domenico,  also  a God  the  Father  in  a medallion  in  the 
gable  above  the  door. 

Above  the  doorway  of  S.  Domenico  at  Urbino  may  be  seen  today  a 
terra-cotta  lunette  (Fig.  70),  and  above  it  in  a gable  a marble  God  the 
Father  between  two  angels.  The  latter  figures  are  not,  as  the  document 


LUCA  DELLA  ROBBIA 


114 

requires,  in  a medallion,  and  their  inferior  style  indicates,  in  spite  of  the 
document,  that  they  are  not  by  Luca  della  Robbia.  The  terra-cotta  lunette, 
however,  is  Luca’s,  and  contains  more  figures  than  are  specified  in  the 
document.  As  was  the  case  with  the  Resurrection  and  Ascension  reliefs  in 
the  Cathedral  of  Florence,  the  architect  provided  the  framework,  leaving 
to  the  sculptor  merely  the  decoration  of  the  lunette.  Occupying  as  it  does 
an  elevated  position  it  was  properly  adorned  with  relatively  large,  half  fig- 
ures in  high  relief.  It  was  constructed  in  at  least  three  parts  and  put  to- 
gether with  apparently  no  concealment  of  the  joints.  The  Madonna’s  face 
has  been  injured  so  much  that  we  have  no  certainty  concerning  the  form  of 
her  eyes,  nose,  or  mouth.  This  Child’s  face  is  also  much  damaged.  All  the 
figures,  recently  restored,  are  glazed  in  white  and  set  against  a blue  back- 
ground ; green  is  used  for  the  lily  stalk  and  for  the  palm  branch ; violet  for 
the  inscriptions ; a dark  blue  for  the  eyebrows,  upper  eyelashes  and  pupils, 
and  a lighter  blue  for  the  irises. 

The  first  figure  to  the  left  is  S.  Domenico,  carrying  his  emblem,  the 
lily,  and  a book.  Next  to  him  is  the  learned  S.  Tommaso  d’Aquino,  clean 
shaven,  holding  an  open  book  inscribed  de  frvctv  opervm  tvorvm  satia- 
BITVR  TERRA  (Ps.,  IO4,  1 3 ) . 

The  Child  carries  a scroll  inscribed  ego  svm  lvx  mvndi.  To  the  right 
may  be  recognized  Beato  Alberto,  known  as  Albertus  Magnus,  and  S.  Pietro 
Martire,  holding  a palm  branch,  emblem  of  martyrdom.  None  of  the 
figures  wear  haloes,  and  the  knife  plunged  in  his  skull,  by  which  S.  Pietro 
Martire  was  frequently  distinguished,  is  here  omitted. 

These  four  Dominican  Saints  are  very  human,  but  not  highly  individ- 
ualized. S.  Domenico  and  S.  Pietro  Martire  are  much  alike,  as  are  also 
S.  Tommaso  and  Beato  Alberto.  Luca’s  artistic  efforts  are  more  marked 
in  the  realistic  representation  of  the  ears,  which  he  frequently  avoided,  and 
of  the  hands,  which  here  as  elsewhere  he  has  made  varied  and  expressive. 
The  Madonna  is  more  mature  than  those  of  the  S.  Pierino  and  Via  dell’ 
Agnolo  lunettes  and  constitutes  a new  type,  which  we  may  expect  to  find 
repeated  in  the  Madonnas  of  this  decade. 


LUCA  DELLA  ROBBIA 


1 15 


DOCUMENTS 

[Copied  by  Signorina  Eugenia  Levi  from  the  Libro  di  Conti  di  Maso 
di  Bartolomeo  di  Firenze  dell'  anno  1449 . Scarpellatore,  c.  1,  25  l.  Ms. 
cart,  del  sec.  XV  nella  Biblioteca  Nazionale  Centrale  di  Firenze,  Palazzo 
Baldovinetti  No.  70.] 

1.  1449,  1 di  Agosto.  Qui  da  pie  faro  richordo  di  tutti  e 
danari  . . . io  Maso  di  Bartolomeo  ricevero  do  sindachi  e proclmratori 
de  Frati  di  san  domenicho  d’Urbino  o do  altri  per  loro  per  cagione  della 
porta.  E deono  avere  a di  prinro  d’agosto  fior.  sette  contanti  a bolognini 
40  per  fior.  che  furono  denari  che  s’ebbono  dal’arte. 

Fior.  7,  bolog.  14. 

2.  1450,  19  di  Giugno.  Lucha  di  Simone  della  robbia  de  dare  adi 
29  di  gugno  f.  cjuattro  doro  valsono  L 18  b.  8 et  p.  me  da  Frate  bartolomeo 
daurbino.  E cjuesti  furo  p.  parte  di  pagameto  dicerte  Figure  che  detto 
lucha  mi  debba  fare  p.  mettere  nella  porta  durbino  cioe  una  nostra  dona 
sa  piero  martire  e sandomenicbo.  E di  sopra  in  uno  frotone  uno  idio 
padre  in  uno  tondo  p.  prezo  di  f.  quarante  cioe  f.  XL  . . . L 18  b.  8. 

BIBLIOGRAPHY 

Anselmi,  A.  S.  A.,  VIII  (1895),  437-439;  Bode,  Kf.  14;  A.  S.  A.,  n (1889),  3-4; 

It.  Bild.  d.  R.,  78;  It.  PL,  85;  /.  k.  p.  K.,  VII  (1885),  179,  and  XXI 
(1900),  7;  FI.  Bildh.,  117,  Abb.  66;  Deiikm.,  62,  Taf.  216;  Ft.  Sc.  81; 
Burger,  302;  Burlamacchi,  31-32,  99  (Doc.),  118;  Cavallucci  et  Moli- 
nier,  53,  57-59  (Doc.),  255,  No.  323;  Cruttwell,  92-93,  301  (Doc.),  324; 
Doering-Dachau,  15;  Fabriczy,  /.  k.  p.  K.,  XX  (1899),  127  note  3; 
de  Foville,  47;  Janitschek,  257-261;  Marquand,  A.  J.  A.,  IX  (1894),  20- 
21;  Michel,  IV,  82-83 ; Milanesi,  II,  176  note  3,  201;  Reymond,  D.  R., 
45-46,  99-100;  Sc.  FI.,  II,  195-196;  Springer,  in,  35;  Schubring,  54, 
Abb.  52;  Venturi,  VI,  572;  Yriarte,  25-28,  55  (Doc.),  64  (Doc.)  ; G.  B.  A., 
XXIV  (1881),  143;  Waters,  192. 

28  THE  INNOCENTI  MADONNA.  Florence,  Ospedale  degT  Inno- 
centi.  H.,  0.81  nr.  Photos.,  Alinari,  No.  3181  ; Brogi,  No.  9918. 

The  Innocenti  Madonna  (Fig.  71),  like  those  in  the  Altman  and  Andre 
collections,  has  no  background,  but  was  intended  to  be  set  in  a niche  or 
against  a wall.  The  base,  cut  away  at  the  angles  is  covered  with  a fine 
blue  glaze,  and  an  inscription  in  white  letters  from  the  Magnificat,  qvia 
RESPEXIT  DOMINVS  HVMI  LIT  AT  EM  ANCIELE  SVE  ( S.  Luke,  I,  48).  At  each 
corner,  also  in  white,  is  a rose  with  four  fronds  of  ferns.  The  scroll  held 
by  the  Child  is  inscribed  in  violet  black  ego  svm  lvx  mvndi.  The  colour- 
ing of  the  eyes  show  blue  or  light  lilac  irises  and  violet  lashes,  pupil  and 
iris  boundary.  The  gilding  on  the  hair,  borders  of  mantle,  scroll,  and 
brooch  appears  to  be  modern. 

The  type  of  the  Madonna  and  of  the  Child  are  those  of  the  Urbino 
lunette,  and  the  Child  carries  a similar  scroll  in  the  same  position.  The 


LUCA  DELLA  ROBBIA 


1 16 


Virgin’s  mantle,  which  serves  also  to  cover  her  head,  is  fastened  by  a 
brooch  in  the  form  of  a rose,  like  those  of  the  candelabrum-bearing  angels 
in  the  Cathedral  sacristy. 


Fig.  71.  The  Innocenti  Madonna. 


Dr.  Bode,  Marcel  Reymond,  de  Foville  and  Miss  Cruttwell  agree  that 
this  is  the  earliest  or  one  of  the  earliest  of  Luca’s  Madonnas.  In  my  view 
this  Madonna  should  be  dated  about  1450,  on  account  of  the  close  resem- 
blance to  the  Urbino  Madonna. 

BIBLIOGRAPHY 

XIX  cent.,  Bode,  A.  S.  A.,  II  (1889),  5;  Cavallucci  et  Molinier,  209,  No.  21  (attributes 

it  to  Benedetto  Buglioni!);  Marquand  ,A.  J.  A.,  IX  (1894),  19-20,  PI.  7; 
Reymond,  D.  R.,  102;  Sc.  FI.,  II,  220-221; 

XX  cent.,  Bode,  J.  k.  [>.  K.,  XXI  (1900),  17;  Denkm.,  71,  Taf.  215;  FI.  Bildh.,  133; 

FI.  Sc.,  93;  Burckhardt,  429;  Burlamacchi,  30,  108;  Cruttwell,  120-121, 
324;  Doering-Dachau,  23,  Abb.  33;  de  Foville,  44;  Michel,  IV,  84;  Schu- 
bring,  83;  Abb.  77;  Venturi,  VI,  567,  Fig.  381;  Waters,  192. 

29  THE  MADONNA  OF  THE  APPLE.  Berlin,  Kaiser-Friedrich 
Museum,  No.  70  (Old  No.  116  R).  H.,  0.58  m. ; YV.,  0.48  m. 

Photo.,  Mertens. 

This  relief  (Fig.  72)  like  that  in  the  Innocenti  Gallery,  has  no  back- 
ground and  is  also  set  on  a base  with  chamfered  angles.  It  was  purchased 


LUCA  DELLA  ROBBIA 


II 7 

in  1869  from  Sir  Francis  Cook,  Richmond,  and  presented  by  Herr  Michaelis 
to  the  Kaiser-Friedrich-Museum-Verein. 

Traces  of  gilding  remain  on  the 
Virgin’s  fillet,  girdle,  wristband,  and 
on  tbe  border  of  her  mantle.  The  eyes 
of  both  Virgin  and  Child  have  pale-blue 
irises  and  violet  pupils. 

The  general  composition  is  not 
far  removed  from  that  of  the  Inno- 
centi  Madonna,  the  Virgin  being  some- 
what hieratic,  although  the  Child  is 
here  roguish  and  playful.  He  has  the 
symbolic  apple  in  his  left  hand,  and 
puts  the  forefinger  of  his  right  hand  in 
his  mouth,  as  if,  in  sympathy  with 
mankind,  he  too  would  enjoy  a taste  of 
the  forbidden  fruit.  Luca  had  used 
the  same  motive  for  a Madonna  in 
the  medallion  in  the  Museo  Nazionale, 
No.  27.  How  different  is  this  motive 
in  the  hands  of  Andrea  della  Robbia, 
who  omits  the  apple,  thus  suffering  even  Luca’s  composition  to  be  mis- 
understood by  Marcel  Reymond,  who  likens  the  gesture  to  that  of  a little 
child  with  a toothache  ! 


Fig.  72.  Madonna  of  the  Apple,  Berlin. 


BIBLIOGRAPHY 

XIX  cent.,  Marquand,  A.  1.  A.,  IX  (1894),  22,  PI.  6;  Reymond,  D.  R.,  200;  Sc.  PL, 

HI,  173; 

XX  cent.,  Ber.  d.  K.  F.  Mus.  Ver.,  1894  -6,  13;  Bode,  /.  k.  p.  K.,  XXI  (1900),  25-26; 

Denkm.  75,  Taf.  222;  FI.  Bildlt.,  150,  Abb.  80;  FI.  Sc.,  105;  It.  PI.,  89; 
Cruttwell,  157,  334;  de  Foville,  72;  Michel,  IV,  84;  Schottmiiller,  31-32, 
No.  70  (K.  F.  M.  V.);  Schubring,  81,  83,  Abb.  80;  Venturi,  VI,  566, 
Fig.  378;  La  Madonna,  28. 


1 1 8 


LUCA  DELLA  ROBBIA 


Fig.  73.  Madonna  of  the  Apple,  Florence. 


30  THE  MADONNA  OF  THE  APPLE.  Florence,  Museo  Nazionale, 
No.  28.  H.,  0.70;  W.,  0.52  m.  Photos.,  Alinari,  No.  2765;  Brogi, 
No.  9491 

This  Madonna  (Fig.  73)  is  said  by  Umberto  Rossi  to  have  belonged  to 
the  Grand  Dnkes  of  Tuscany,  from  the  end  of  the  sixteenth  century.  From 
the  Palazzo  Vecchio  it  passed  in  1836  to  the  Uffizi,  and  in  1869  to  the 
Museo  Nazionale.  The  modulation  of  hues  from  the  light  blue  of  the 
base  to  the  richer  blue  of  the  background  is  an  expression  of  Luca’s  charm- 
ing colour  sense.  The  eyes  are  more  summarily  treated  than  usual.  The 


LUCA  DELLA  ROBBIA 


119 

brows  and  eyelashes  are  uncoloured.  The  irises  show  Luca’s  favourite 
gray-blue,  and  the  pupils  the  usual  violet.  The  form  of  the  base  resembles 
that  of  the  two  preceding  Madonnas. 

The  composition  has  strong  analogies  with  that  on  the  Impruneta 
frieze.  It  is,  however,  in  type  somewhat  more  hieratic.  The  Madonna  is 
nearly  erect  with  a very  slight  tilt  to  the  head.  She  is  anxiously  foreboding 
the  sorrow  which  the  future  has  in  store  for  her.  The  Child,  entirely 
nude,  clings  with  both  hands  to  the  symbolic  apple.  His  face  does  not 
share  his  mother’s  sorrow.  He  is  a large  Child,  like  that  of  the  Berlin 
Madonna  of  the  Apple.  The  relation  of  mother  and  Son  is  not  quite  so 
intimate  as  that  of  the  Madonna  on  the  Impruneta  frieze. 


BIBLIOGRAPHY 

XIX  cent.,  Barbet  de  Jouy,  60;  Marquand,  A.  J.  A.,  IX  (1894),  22;  Scribner’s  Mag.,  1893, 

689,  693;  Reymond,  D.  R.,  107-108;  Sc.  FI.,  II,  223-224;  Rossi,  A.  S.  A., 
VI  (1893),  7-10; 

XX  cent.,  Bode,  /.  k.  p.  K.,  XXI  (1900),  17;  Denkm.  72,  Taf.  222;  FI.  Bildli.,  134, 

Abb.  72;  FI.  Sc.,  94,  PL  44;  Burlamacchi,  49,  no;  Cruttwell,  123,  323; 
Michel,  IV,  84;  Reymond,  Riv.  d’Arte,  II  (1904),  94-95;  Schubring,  81; 
Supino,  442  No.  28;  Venturi,  VI,  566;  Waters,  192. 


31  THE  MADONNA  FROM  S.  MARIA  NUOVA.  Florence,  Museo 
Nazionale.  H.,  0.63  m. ; W.,  0.50  m.  Photo.,  Alinari,  No.  2445,  C. 

This  relief  was  removed  in  1900  from  the  Gallery  of  the  Hospital  of 
S.  Maria  Nuova  to  the  TJffizi,  where  it  remained  until  about  1903,  when 
it  was  transferred  to  the  Museo  Nazionale  (Fig.  74).  The  figures  are  white 
against  a blue  ground  and  set  upon  a white  base.  The  blue  background  is 
ornamented  with  a gold  diapered  pattern  showing  rosettes  within  circles 
and  conventional  floral  patterns,  recalling  the  pattern  on  the  bases  of  the 
candelabrum-bearing  angels,  and  that  of  the  Madonna  of  the  Physicians  on 
Or  San  Michele. 

The  type  of  the  Madonna  is  transitional  between  the  Madonna  of  the 
Apple  and  the  Genoese  Madonna,  now  in  the  Benda  collection,  Vienna. 
The  eyes  have  gray-blue  irises  and  violet  pupils,  with  no  colour  indications 
for  eyebrows  or  lashes.  Her  robe  has  a neck  ruffle,  almost  no  folds  and 
no  girdle,  but  an  ornamental  wristband  on  her  right  sleeve.  She  carries 


120 


LUCA  DELLA  ROBBIA 


in  her  left  arm  the  Child,  who  plays  with  her  thumb  and  little  finger.  The 
Child  has  a large  head  and  is  fully  draped.  His  shirt  opens  like  that  of 
S.  Simone  in  the  Pazzi  Chapel,  and  his  shoulder  capes  recall  those  of  the 
Cluny  Temperance  and  the  Heilbronner  Prudence.  His  right  foot  is  turned 
so  that  the  sole  is  visible.  Both  Virgin  and  Child  wear  haloes,  and  gaze 
out  upon  the  spectator. 


Fig.  74.  Madonna  from  S.  Maria  Nuova. 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXI  (1900),  19;  Dcnkin.,  73,  Taf.  220;  FI.  Bildh.,  136-137,  Abb.  74; 

FI.  Sc.,  95-96;  Burlamacchi,  56,  108;  Cavallucci  et  Molinier,  21 1 No.  34; 
Cruttwell,  340;  de  Foville,  47;  Marrai,  Prim.,  78;  Schubring,  78-79,  Abb. 
78;  Venturi,  VI,  578  note  1. 


LUCA  DELLA  ROBBIA 


1 2 1 


32  THE  MADONNA  OF  THE  ROSE  GARDEN.  Florence,  Museo 
Nazionale,  No.  31.  H.,  0.S3  m. ; W.,  0.63  m.  Photos.,  Alinari, 

No.  2766;  Brogi,  No.  9475. 

This  beautiful  relief,  once  considered  a forgery,  was  relegated  to  the 
storeroom  of  the  Museo  Nazionale  until  about  1885  it  was  discovered  by 
Dr.  Bode.  It  is  now  universally  accepted  as  a very  characteristic  work  of 
Luca  della  Robbia  (Fig.  75).  It  belongs  to  a period  when  Luca  was 


Fig.  75.  Madonna  of  the  Rose  Garden. 


experimenting  with  colour  harmonies.  The  background  is  an  unusual 
grayish-blue,  the  leaves  of  the  rose  bushes  show  several  shades  of  green, 
the  bench  is  a charming  violet,  and  the  inclined  base  a grayish-green.  There 
is  nothing  crude  or  garish  about  this  colour  harmony.  The  Madonna’s  eyes 
have  the  characteristic  gray-blue  irises,  while  eyebrows,  upper  lashes,  and 
pupils  are  indicated  with  dark  blue.  It  may  be  designated  as  the  Madonna 
of  the  Rose  Garden,  or  S.  Maria  del  Fiore,  the  titular  Madonna  of  the 
Florence  Cathedral. 


I 22 


LUCA  DELLA  ROBBIA 


The  composition  and  the  mode  of  holding  the  Child  remind  us  of 
the  Frescobaldi  Madonna,  but  the  scene  has  changed.  The  Madonna  is 
no  longer  in  heaven,  but  seated  on  a bench  in  a rose  garden.  The  type 
of  the  Virgin  is  not  that  of  the  S.  Pierino  or  of  the  Via  dell’  Agnolo 
lunette,  but  more  advanced,  nearer  to  that  of  the  Madonna  of  the  Apple, 
not  quite  so  aged  or  so  wearied  as  our  Lady  of  the  bronze  sacristy  doors. 
The  type  of  the  Child  is  transitional  between  that  of  the  Frescobaldi  and 
of  the  bronze  door  reliefs.  If  we  should  compare  the  roses  and  the  rose 
leaves  with  those  of  the  S.  Pierino  and  Via  dell’  Agnolo  lunettes,  these 
are  less  carefully  detailed  in  modelling.  The  smooth  centres  of  the  flowers 
and  the  summary  character  of  the  leaves  find  their  closest  analogues  in  the 
floral  frieze  of  the  Federighi  Tomb.  Hence  this  relief  may  be  assigned 
to  the  decade  1450-1460. 


BIBLIOGRAPHY 

Bode,  A.  S.  A.,  II  (1889),  5;  J.  k.  p.  K.,  XXI  (1900),  17,  24  note  1;  Denkm.,  71  Taf. 

224;  FI.  Bildh.,  133-134;  FI.  Sc.,  93-94,  PI.  43;  Burlamacchi,  49-50,  no; 
Cruttwell,  122-123,  323;  Doering-Dachau,  23,  Abb.  35;  de  Foville,  29, 
47-52,  56,  91;  Marquand,  A.  J.  A.,  IX  (1894),  18-19,  PI-  7;  Michel,  IV, 
84;  Reymond,  D.  R.,  101;  FI.  Sc.,  II,  220;  Schubring,  76,  Abb.  72;  Supino, 
443,  No.  31;  Venturi,  VI,  576,  Fig.  386;  La  Madonna,  33;  Waters,  192.. 


33  THE  FEDERIGHI  TOMB.  Florence,  S.  Trinita.  1455-1456. 

H.,  2.70  m. ; W.,  2.57  m.  Photos.,  Alinari,  Nos.  3396-3399; 

Brogi,  Nos.  4664-4667;  Burton  & Co. 

This  marble  monument  (Fig.  76),  one  of  the  most  noteworthy  and 
beautiful  tombs  in  Italy,  was  erected  in  honour  of  Benozzo  Federighi,  a 
Florentine  Canonico,  Protonotario  Apostolico,  and  Bishop  of  Fiesole, 
who  died  in  1450.  The  contract  for  the  Tomb  was  signed  by  Federigo  di 
Jacopo  Federighi  and  Luca  della  Robbia  on  March  2,  1455,  and  the  Tomb 
completed  in  the  year  1456.  A dispute  concerning  the  payment  for  the 
Tomb  having  arisen,  the  matter  was  referred  to  Andrea  Lazzari  Caval- 
canti, called  II  Buggiano,  who  in  1459  ruled  that  Luca  had  faithfully  ful- 
filled his  side  of  the  contract,  that  the  monument  should  be  gilded  as  Andrea 
thought  best,  and  at  the  joint  expense  of  the  two  contracting  parties.  The 
tomb  was  located  first  in  the  Federighi  Chapel,  near  the  side  entrance  in 


LUCA  DELLA  ROBBIA 


w/f  BENOT  KFffW  - 
mi  RIGIS  ffl  KSWAWk  > 

sw  os/i  w.grti-xi-iM/i  % . 
^ vrr/Esvmi  vtiyviM',  ■ 
|Uf  Vixrr-ANNOQVC  *4 
.fKrtarDFFW,!^ 
CTV5  EST 


K;.  : ;i‘  if;  ''I... i, , 1',.  . i ' 


S.  Pancrazio,  where  it  stood  until  that  church  was  suppressed  in  1809.1 
It  was  then  removed  across  the  Arno  to  Bellosguardo  and  set  up  in  the 
Church  of  S.  Francesco  di  Paolo,  of  which  the  Federighi  family  were 
patrons.  Again,  in  1896, 2 it  crossed"  the  Arno  and  found  a resting  place 
in  one  of  the  choir  chapels  of  S.  Trinita. 

The  general  form  of  the  tomb,  a rectangular  niche  framed  with  poly- 
chromatic,  glazed  terra-cotta,  is  most  unusual,  but  well  adapted  for  its  site, 


Fig.  76.  The  Federighi  Tomb. 


since  the  small  dimensions  of  S.  Pancrazio  did  not  invite  tombs  raised  aloft 
on  brackets  or  covered  with  high  canopies.  The  reclining  Bishop  must 
have  been  set  above  the  eye  of  the  spectator,  otherwise  the  suppression  of  his 
right  shoulder  would  be  unpleasantly  noticeable.  In  its  general  disposi- 
tion with  the  head  resting  lightly  on  a pillow,  the  hands  crossed,  the  feet 


1 According  to  Cocchi,  79.  Miss  Cruttwell  and  Gerspach  gave  the  date  17S3. 

2 Gerspach,  Chronique  dcs  Arts,  1896,  p.  156-157. 


124 


LUCA  DELLA  ROBBIA 


protruding,  we  find  a type  hallowed  by  long  use  in  Italy.  Not  uncommon 
also  is  the  rich  decoration  seen  here  in  stole  and  mitre,  pillow  and  pall. 
In  the  foliage  and  floral  forms  we  recognize  decorative  elements  which 
Luca  della  Robbia  had  used  already  in  the  Peretola  tabernacle  and  elsewhere. 
Traces  of  colour  still  remain,  on  the  eyebrows  and  eyes  of  the  angels,  and 
of  gilding  on  the  nimbuses  and  other  details.  This  gilding  was  specifically 
called  for  in  the  contract  of  August  6,  1459. 


Fig.  77.  Federighi  Tomb.  S.  Maria.  Fig.  78.  Federighi  Tomb.  Dead  Christ. 

The  rectangular  sarcophogus  with  its  well  distributed  and  decorated 
mouldings  resembles  the  altar  of  the  Cappella  di  Stefano.  On  the  front 
are  exhibited  in  relief  two  angels  bearing  an  olive  wreath  enclosing  the 
inscription:  r(everendi)  p(atris)  benotii  i>e  federigis  epi(scopi) 

FESVLANI  QVI  VIR  ITEGER  ( R ) IM AE  VITAE  SVM(m)a  CVM  LAVDE  VIXIT. 

annoque  mccccl  defvnctvs  est.  The  angels  and  wreath  motive  was 
suggested  to  Luca  not  directly  by  a classic  monument,  but  through 


LUCA  DELLA  ROBBIA 


125 


Ghiberti’s  reliquary  of  the  Three  Martyrs  (1428)  or  that  of  S.  Zanobi 
(1446).  He  may  also  have  had  in  mind  the  similar  motive  on  Bernardo 
Rossellino’s  tomb  to  Leonardo  Bruni  in  S.  Croce.  Luca's  angels  are  large 
for  the  space  they  occupy,  and  not  so  active  as  Ghiberti’s;  but  they  are 
more  seriously  concerned  with  their  sombre  task,  their  wings  more  securely 
attached  to  their  bodies,  their  draperies  more  carefully  modelled,  and  the 
wreath  more  naturalistic  and  beautiful. 


Fig.  79.  Federighi  Tomb.  S.  Giovanni. 

In  the  background  are  three  panels  (Figs.  77-79),  not  left  vacant 
as  in  Donatello's  tomb  of  Giovanni  XXIII  or  in  the  tomb  of  Leonardo 
Bruni,  but  carved  with  figures  of  the  Virgin  Mary  and  S.  Giovanni 
Evangelista  worshipping  the  dead  Christ.  This  group,  one  of  several 
types  known  as  a Pieta,  was  common  on  fourteenth  century  tombs.  It  was 
similarly  distributed  in  three  panels  on  the  Baroncelli,  Pazzi,  and  Alotti 
tombs  in  S.  Croce  and  S.  Maria  Novella. 

On  the  ceiling  of  the  niche,  also  in  three  panels,  are  carved  three 


126 


LUCA  DELLA  ROBBIA 


cherub  heads  (Figs.  80-82).  Each  has  three  pairs  of  wings.  They  have 
serious  faces,  as  if  mindful  of  the  solemnity  of  death-.  Owing  to  their 
obscure  position  these  panels  have  hitherto  escaped  attention.  It  is  impor- 
tant to  publish  them,  since  cherub  heads  have  a long  role  to  fill  in  the 
history  of  the  Robbia  School.  The  lateral  panels  of  the  niche  are 
undecorated. 


Fig.  80.  Federighi  Tomb.  Detail. 


Fig.  81.  Federighi  Tomb.  Detail. 


Fig.  82.  Federighi  Tomb.  Detail. 


LUCA  DELLA  ROBBIA 


12' 


The  polychromatic  terra-cotta  frame  (Fig.  83)  is  a unique  product, 
extraordinarily  skilful  in  execution  and  of  beautiful  design.  Within  marble 
mouldings,  carved  with  the  leaf  and  dart,  is  set  a mosaic  of  enameled 
terra-cotta,  0.22m.  in  width.  It  is  not  composed,  as  M.  Gerspach  asserts, 
of  twenty-eight  pieces,  corresponding  to  the  ovals  or 
circles  into  which  the  design  is  distributed,  but  each 
of  these  twenty-eight  sections  is  subdivided  into  many 
small  pieces,  in  some  cases  as  many  as  thirty-eight  in 
number.  Each  separate  piece  is  coloured  and  glazed, 
and  is  set  in  very  hard  cement.  In  other  words,  it  is 
a mosaic,  of  the  variety  called  opus  scctile,  the  units  of 
which  are  not  marble  but  glazed  terra-cotta.  The 
ground  against  which  the  floral  pattern  is  set  is  of  gold, 
the  technical  character  of  which  is  noteworthy.  Many 
years  ago  I made  a note  to  the  effect  that  this  consisted 
of  a gold  enamel  beneath  a glaze.  Since  that  time 
M.  Gerspach  has  reiterated  his  statement  that  the  gold 
was  not  protected  by  a glaze,  but  was  exposed  to  the 
atmosphere  without  protection.  That  this  is  not 
the  case  is  shown  by  careful  observations  made  for  me 
by  Mr.  Rufus  G.  Mather  of  Florence  who  writes  as 
follows : “Upon  the  hard,  dark-red  terra-cotta  was  ap- 
plied the  gold,  in  the  form  of  paint.  Over  this  is  a 
yellowish  glaze.  The  various  pieces  so  gilded  present 
different  appearances.  In  some  cases  the  gold  does 
not  shine  as  such  except  where  the  glaze  has  been  worn 
away,  as  for  instance,  near  the  edge.  In  such  cases  its 
effect  only  through  the  glaze  is  felt.  In  other  cases 
the  glaze  has  worn  off  in  many  places  and  so  allows 
the  sparkle  of  the  gold  to  be  seen.  These  places  I 
have  rubbed  hard  with  my  finger,  but  although  the 
gold  is  fully  exposed  it  will  not  rub  off  even  under  hard  friction.  I presume, 
therefore,  it  must  have  been  burned  in.  Wherever  the  gold  is  seen  it  pre- 
sents the  same  appearance  as  to  colour.  On  the  other  hand  the  glaze  varies 
considerably.  While  in  general  it  is  a dullish  yellow,  in  many  cases  it  is 
quite  brownish  and  even  greenish.  To  determine  just  the  colour  of  the 


Fig.  83.  Federighi  Tomb. 
Detail. 


128 


LUCA  DELLA  ROBBIA 


glaze  is  very  difficult.  The  tomb  gets  no  direct  sun  on  it,  so  one  has  to 
depend  on  artificial  light.  To  show  what  a great  difference  there  is  in  the 
gilding  under  natural  and  artificial  light  I will  mention  that  without  artifi- 
cial light  only  the  general  effect  of  the  gold  is  felt  (little  or  no  gold  being 
seen  as  such),  whereas  when  a candle  is  brought  near  the  same  pieces  the 
sparkle  of  the  gold  itself  becomes  at  once  apparent.”  The  other  colours 
used  are  green  of  various  shades,  white,  yellow,  purple-violet  and  blue.  The 
colours  are  applied  in  general  in  flat  tones,  with  occasional  shading.  The 
prevailing  tone  is  green  against  which  the  flowers  form  the  high  lights. 

The  design  consists  of  bunches  of  flowers  and  fruit  with  their  leaves 
set  in  oval  cloisons  knotted  together  to  form  a chain.  At  the  corners  the 
cloisons  are  circular.  The  two  at  the  top  contain  a modification  of  the 
Federighi  arms.  These  arms  are  Azure,  eight  plates,  two,  three,  two,  and 
one,  argent  (H.  Wills,  Florentine  Fleraldry,  139,  and  Priorista  fioren- 
tino,  Ms.  Princeton  copy,  406).  On  arranging  the  plates  within  a circle 
the  lowermost  plate  was  almost  necessarily  omitted.  Possibly  the  branch  of 
the  family  to  which  Benozzo  belonged  was  content  with  seven  plates. 
The  remaining  cloisons,  twenty-six  in  number,  are  filled  with  seven  different 
designs.  These  begin  in  the  middle  of  the  base  and  continue  to  right  and 
left  to  the  middle  of  the  side  frames.  Then  follow  repetitions  of  the  first 
three  designs  according  to  this  scheme : 


O 3.  2.  1.  1.  2.  3. 

1. 

r> 


o 

I. 


3 

7 

6 

5 


3 
7 
6 

5 

4 


Considered  as  a whole,  the  chain  of  flowers  and  fruit  may  be  said  to 
begin  at  the  middle  of  the  base  and  end  at  the  middle  of  the  top,  thus  giving 
an  ascending  series  for  the  two  sides.  Lilies,  roses,  morning  glories,  together 
with  olive  branches,  pomegranates,  and  pine  cones  are  here  displayed  as 


LUCA  DELLA  ROBBIA 


129 


nowhere  else  in  Luca’s  work.  As  we  examine  it  we  exclaim  with  Vasari, 
“questa  opera  e maravigliosa  e rarissima.” 


DOCUMENTS 

1.  1455,  2 di  Marzo.  Date  of  contract.  See  Doc.  3. 

2.  1457.  E pin  6 una  sepoltura  di  marmo.  la  quale  6 fatto  gia  e piu 
d'un  anno,  a federigho  diachopo  federighi ; delle  quali  siano  appiato  alio 
merchatantia ; nonne  posso  ragionare  alchuna  chosa  insino  a tanto  non  e 
terminato.  Quando  sara  chiarita,  saro  dinanzi  del  vostro  officio. 

[Quoted  from  Gaye,  I,  183.  Arch,  di  Stato  di  Firenze.  Quartiere  S. 
Giovanni,  Gonfalone  Chiave.  No.  829,  c.  1 1 5. ] 

3.  1459,  21  di  Luglio.  Federighus  Iacobi  de  Federigis,  civis  floren- 
tinus,  ex  una  parte  et  Lucas  Simonis  della  Robbia,  intagliator,  ex  alia, 
pro  observantia  executione  et  effectu  scripte  conventionis  existentis  inter 
eos  facta  sub  die  secunda  Martii  1454  (1455  st.  com.)  continente  in  effectu 
inter  cetera  quod  dictus  Lucas  deberet  facere  dicto  Federigho  certum 
sepulchrum  marmoreum  certo  modo  et  forma  prout  in  dicta  scripta  con- 
tinetur  et  cum  dicte  partes  de  huiusmodi  laborerio  non  sint  in  omnibus  bene 
Concordes  videlicet  de  infrascriptis  elegerunt  nominaverunt  et  deputaverunt 
Andream  Lazari  Cavalcantis,  intagliatorem,  civem  florentinum,  tanquam 
eorum  arbitrum  et  arbitratorem  spetialiter  et  nominatim  ad  videndum  dic- 
tum opus  jam  factum  si  in  aliquo  est  defectivum  sen  si  quid  in  eo  deficit  et 
tale  defectum  declarandum  antequam  muretur  et  deinde,  illo  murato,  ad 
existimandum  et  appretiandum  ipsum  laborerium  et  opus  et  talem  exti- 
mationem  referendum  in  scripta  dictis  domino  officiali  et  sex  bine  ad  per 
totam  diem  XXVIII  septembris  proxime  futuri  etc.  Presentibus  testibus 
etc.  Adamo  et  Piero  domicellis. 

[Quoted  from  Poggi,  Riv.  d’Arte,  1906,  157.  Archiv.  del  Tribunale 
di  Mercanzia,  Deliberazioni,  1456-1459.  c.  99-99  b] 

4.  1459,  6 di  Agosto.  Constitutus  personaliter  coram  me  Rigoglo 
notario  et  cancellerio  infrascripto  et  testibus  infrascriptis  Andreas  Lazari 
Cavalcantis  intagliator  arbiter  et  arbitrator  ut  supra  patet  sub  die  ...  [21] 
lulii  proxime  preteriti  inter  Federighum  de  Federighis  ex  parte  una  et 
Lucam  della  Robbia  ex  alia  vigore  dicte  commissionis  et  omni  modo  etc. 
declaravit  et  iudicavit  nichil  deficere  sen  defecisse  in  laborerio  facto  per 
dictum  Lucam  de  quo  ibidem  fit  mentio  seel  omnia  fecisse  et  adimplevisse 
prout  tenebatur  et  debebat  secundum  conventionem  existentem  inter  eos  et 
quod  nichilhominus  dictus  Lucas  teneatur  et  debeat  dorare  a mordente 
sepulchium  seu  laborerium  de  quod  ibidem  fit  mentio  ubi  et  quomodo 
videbitur  eidem  Andree  ad  comunes  expensas  utriusque  partis.  Et  hec 
presente  et  intelligente  et  acceptante  dicto  Federigo  et  presentibus  testibus 
etc.  ser  Benedicto  de  Staggia  et  ser  Guidone  de  Rignano. 

[Quoted  from  Poggi,  Riv.  d’Arte,  1906,  157.'  Archiv.  del  Tribunale 
di  Mercanzia.  Deliberazioni,  1456-1459,  c.  106.  ] 


LUCA  DELLA  ROBBIA 


130 


BIBLIOGRAPHY 

XVI  cent.,  Vasari,  II,  176; 

XVIII  cent.,  Richa,  II,  54;  III,  320; 

XIX  cent.,  Bettoni,  II,  77-80,  Tav.  11;  Bode,  Kf,  10;  It.  B.  R.,  84;  A.  S.  A.,  II  (1889), 

3;  Cavallucci-Molinier,  31-39,  36  (Doc.),  227,  No.  137;  Franceschini, 
A.  F.,  54,  61,  167;  Gaye,  I,  183  (Doc.);  Gerspach,  Chr.  d.  A.,  1896,  156- 
157;  R.  A.  Chr.,  XLI  (1898),  365-368;  Gonnelli,  71-72,  Tav.  34;  Mar- 
quand,  A.  J.  Ar,  IX  (1894),  20-21,  PI.  VII,  4,  Br.  1895,  249;  Marrucci, 
A.  e S.,  II  (1883),  314;  Perkins,  T.  S.,  1,  194;  II.  H.,  140-141 ; Reymond, 
D.  R.,  46-47;  X.  F II,  196-197; 

XX  cent.,  Bode,  J.  k.  />.  K.,  XXI  (1900),  4;  Denkm.,  59,  Taf.  235;  F.  B.,  131;  FI.  Bildh., 

iio-iii;  FI.  Sc.,  77,  PI.  35;  Burckhardt,  426;  Burlamacchi,  39-40,  99 
(Doc.),  108;  Burger,  203-205,  Taf.  15,  2;  Carocci,  A.  I.  D.  /.,  XIII  (1904), 
85-88;  Cenni  storici  e artistici  di  S.  Trinita;  Cocchi,  182;  Cruttwell,  93- 
96,  303  (Doc.),  324;  Doering-Dachau,  17,  Abb.  24;  de  Foville,  53,  59-61; 
de  Mely,  G.  B.  A.,  XXXIV  (1905),  282-283;  Michel,  IV,  78-80;  Fig.  55; 
Poggi,  Riv.  d’Arte,  IV  (1906),  156-157  (Doc.);  Schubring,  54-56,  Abb.  53; 
Venturi,  VI,  572-574,  Fig.  384;  Waters,  191. 


34  STEMMA  OF  THE  PHYSICIANS  AND  APOTHECARIES. 
Florence,  Or  San  Michele.  Diam.,  1.80  m.  Photo.,  Alinari,  No. 

4657- 


Early  in  the  twelfth  century  the  Physicians  and  Apothecaries  of  Flo- 
rence were  incorporated  as  a guild  known  as  the  Arte  del  Medici  e degli 
Speziali.  By  the  fourteenth  century  there  were  a hundred  apothecary 
shops  in  Florence,  and  in  the  fifteenth  century  their  shops,  lined  with  jars 
of  fine  maiolica  containing  oriental  spices  and  perfumery,  were  centres 
where  the  idle  rich  gathered  for  gossip.  The  apothecaries  secured  a good 
business  through  the  doctors,  and  still  further  protected  themselves  by  acting 
as  undertakers  and  funeral  directors!  Men  of  letters,  travellers,  painters, 
engravers,  printers  and  many  minor  craftsmen  were  associated  in  this 
flourishing  guild.  Luca  della  Robbia  served  several  times  as  one  of  its 
Consuls,  thirty  times  as  a member  of  its  council,  three  times  as  a Syndic, 
and  twice  as  Treasurer.  The  special  protector  of  the  guild  was  the 
Madonna,  whose  statue  once  occupied  a tabernacle  on  the  South  wall. 
Above  this  Luca  della  Robbia  was  commissioned  to  place  a terra-cotta 
medallion  containing  the  sternma  or  armorial  device  of  the  guild  (Fig. 
84).  This  consisted  of  Azure , a Madonna  polychrome  in  a tabernacle 
surmounted  by  lilies. 

As  Luca  has  interpreted  it,  the  Madonna  is  seated  on  a bench  with  a 
nude  Child  standing  on  her  lap  holding  his  right  hand  extended  in  blessing. 


LUCA  DELLA  ROBBIA 


131 

The  Madonna  is  highly  polychromatic.  Her  hair  is  yellow;  her  face 
imitates  the  colour  of  flesh;  her  half-closed  eyes  have  gray-blue  irises,  dark 
blue  brows,  lashes,  and  pupils;  her  neck  seems  unusually  long;  her  robe  is 
violet  with  neckband  of  yellow  and  sleeves  of  green;  her  mantle,  of  rich 
blue  with  fine  green  lining,  falls  in  easy  swinging  folds ; she  is  seated  on 
a bench  similar  to  that  of  the  Madonna  of  the  Rose  Garden  and  of  the 
bronze  sacristy  doors.  The  bench  is  coloured  bluish-green,  lightly  spotted 
with  yellow,  with  no  obvious  intent  to  imitate  serpentine  or  marble.  The 


Fig.  84.  Stemma  of  the  Physicians. 

Child  recalls  earlier  types  than  that  of  the  bronze  sacristy  doors.  Like  bis 
mother  he  has  yellow,  for  golden,  hair. 

The  immediate  background,  now  covered  with  dust,  shows  an  elaborate 
all-over  pattern  of  white-centered  yellow  quatrefoils  set  against  cruciform, 
green  fern  leaves  enclosed  in  green  and  black  frames,  at  each  angle  of  which 
is  a yellow-centered,  four-petalled,  blue  flower.  The  elements  of  this 
pattern  may  be  seen  in  the  Peretola  tabernacle,  but  its  development  recalls 
the  background  of  the  Madonna  from  the  S.  Maria  Nuova  Gallery  now 
in  the  Museo  Nazionale. 

The  tabernacle,  with  its  unchannelled  colonnettes  and  composite 
capitals,  does  not  betoken  a very  early  date,  in  spite  of  the  fact  that  cornice 


LUCA  DELLA  ROBBIA 


!32 

mouldings  are  here  set  directly  upon  the  capitals.  The  mouldings  resemble 
those  of  the  medallions  of  the  Portogallo  Chapel.  It  may  also  be  noted 
that  the  egg  and  dart  moulding  is  not  of  the  type  followed  by  Luca  in 
the  forties,  but  resembles  those  of  the  Federighi  tomb  and  of  the  Portogallo 
medallions.  The  lilies,  with  their  lanceolate,  green  leaves  and  white  flowers 
with  yellow  stamens,  are  charmingly  naturalistic,  as  fine  as  any  lilies  that 
Luca  ever  modelled.  The  stone  frame  has  lasted  better  than  that  of  the 
other  medallions,  less  than  a quarter  of  it  being  a modern  restoration.  In 
assigning  a date  to  this  medallion  the  analogies  cited  indicate  the  period 

I455_I4f)5' 


BIBLIOGRAPHY 

Barbet  de  Jouy,  59;  Bode,  Kf.  13,  24;  J.  k.  p.  K.,  XXI  (1900),  10;  Denkm.,  66,  Taf.  212; 

FI.  Bildh.,  123;  FI.  Sc.,  85;  Burckhardt,  429;  Burlamacchi,  42-43,  108; 
Carocci,  A.  I.  D.  I.,  V (1896),  Tav.  20;  Cavallucci  et  Molinier,  66-67; 
2 11,  No.  39;  Cruttwell,  104-105,  323;  Doering-Dachau,  20,  Abb.  27; 
de  Foville,  55-56,  59;  Franceschini,  22,  31;  Marquand,  A.  J.  A.,  VIII 
(1893),  1 57-1 59,  PI.  5;  A.  J.  A.,  IX  (1894),  10-11;  Reymond,  D.  R.,  51- 
52,  103;  Sc.  FI.,  II,  199-200,  221;  Richa,  I,  22;  Schubring,  71,  Abb.  68; 
Staley,  236-273;  Vasari,  II,  176;  Venturi,  VI,  576;  Waters,  191. 


35  STEMMA  OF  THE  STONE-MASONS  AND  WOOD  CARVERS. 

Florence,  Or  San  Michele.  Diam.,  1.80  m.  Photo.,  Alinari, 

No.  3441. 

The  guild  known  as  L’Arte  dc'  Maestri  di  Pietva  e di  Lcgname,  or 
master-workers  in  stone  and  wood,  represented  a combination  of  trades : 
the  Maestri  dell’  Ascia,  or  carvers,  the  Muratori  e Scarpellini,  or  masons  and 
stone  cutters,  and  the  Architetti,  or  architects.  To  this  guild,  which  included 
many  of  the  most  celebrated  Italian  architects  and  sculptors,  belonged  also 
gem-cutters,  potters,  and  others  in  allied  occupations.  The  patron  saints 
of  the  guild,  SS.  Castro,  Sinfuriano,  Nicostrato,  and  Simplicio — the  so- 
called  Quattro  Incoronati — are  figured  in  a niche  by  Nanni  di  Banco  on  the 
exterior  of  Or  S.  Michele.  The  stemma  or  coat  of  arms  in  enamelled  terra- 
cotta immediately  above  the  four  saints  (Fig.  85)  is  by  Luca  della  Robbia, 
himself  a member  of  the  guild.  The  arms  consisted  of  an  axe,  argent,  on  a 
field,  gules.  Luca’s  medallion  is  no  mere  reproduction  of  a heraldic  emblem, 
but  a poem  or  song  which  glorifies  the  trades  associated  with  the  guild. 
The  axe,  with  broad,  white  blade  and  yellow  handle,  is  painted  on  a ground 


LUCA  DELLA  ROBBIA 


133 


of  violet,  over  which  is  spread  a charming  arabesque  in  a lighter  shade  of 
violet.  This  as  the  principal  emblem  of  the  guild  occupies  the  central  posi- 
tion. It  is  framed  by  a guilloche,  the  strands  of  which  are  coloured  in  three 
shades  of  blue,  the  darkest  in  the  centre.  The  eyes  of  the  guilloche 
aind  the  triangular  spaces  between  it  and  the  two  fillet  borders  have 
incised  outlines  and  are  filled  witl  glazed  gold  leaf  or  gold  powder  like 
that  in  the  border  of  the  Federighi  tomb.  This  guilloche  makes  four 
loops  at  the  extremities  of  the  vertical  and  horizontal  axes  of  the 
medallion,  in  which  are  set  a blue  trowel  for  the  muratori,  a blue  hammer, 


Fig.  85.  Stemma  of  the  Stone-masons. 


pointing  implement,  and  chisel  for  the  scarpellini,  and  blue  compasses  and 
T-square  for  the  architetti.  The  arrangement  of  the  entire  pattern  is  not 
unlike  that  of  the  four  virtues  about  the  Holy  Spirit  in  the  ceiling  of  the 
Portogallo  Chapel.  Each  of  these  blue  emblems  is  relieved  against  a field 
of  green  covered  with  delicately  designed  arabesques  in  a lighter  shade  of 
green.  The  trapezoidal  spaces  between  the  loops  are  framed  with  white 
fillets,  and  are  decorated  with  green  plants  forming  scrolls  with  opposing, 
double,  five-petalled  flowers  of  three  shades  of  blue.  The  alternate  pairs 
of  flowers  are  of  slightly  different  design.  The  outlines  of  the  plants 


134 


LUCA  DELLA  ROBBIA 


and  flowers  are  incised,  and  the  interspaces  filled  with  gold  beneath  the 
glaze.  The  entire  medallion  was  baked  in  fourteen  or  more  sections  and  set 
in  a stone  frame,  which  in  recent  years  has  in  great  part  been  renewed. 

The  date  to  be  assigned  to  this  medallion  is  a matter  for  conjecture.  It 
has  been  set  as  early  as  1440,  and  as  late  as  1470-1480.  The  use  of  gold 
mosaic,  found  nowhere  else  in  Luca’s  work  except  in  the  border  of  the 
Federighi  tomb  seems  to  indicate  a date  about  1456.  The  delicate  and 
graceful  arabesques  also  suggest  a date  not  far  removed  from  that  of  the 
tabernacle  of  the  Holy  Cross  at  Impruneta.  I accordingly  assign  it  to  the 
period  1455-1460. 


BIBLIOGRAPHY 

XVI  cent.,  Vasari,  II,  175-176; 

XIX  cent.,  Baldinucci,  V,  222;  Barbet  de  Jouy,  59-60;  Bode  Kf.,  13,  24;  Carocci, 

A.  I.  D.  I.,  V (1896),  Tav.  20;  Cavallucci  et  Molinier,  66-67,  211,  No. 
39;  Franceschini,  22;  Marquand,  A.  J.  A.,  VIII  (1893),  156-157,  PI.  4; 
Reymond,  D.  R.,  64-66;  Sc.  FI.,  II,  205-206; 

XX  cent.,  Bode,  /.  k.  p.  K.,  XXI  (1900),  n;  Denkm.,  66;  FI.  Bildh.,  124;  FI.  Sc.,  85-86; 

Burckhardt,  428;  Burlamacchi,  45-46,  108;  Cruttwell,  106,  323;  de  Foville, 
61;  Schubring,  70,  Abb.  67;  Waters,  191. 


36  STEMMA  OF  THE  SILK  MERCHANTS.  Florence,  Or  San 
Michele.  Diam.,  1.80  m.  Photos.,  Alinari,  No.  3439 ; Brogi, 
No.  4658. 

The  Florentine  guild  of  silk  merchants  and  manufacturers,  known  as 
the  Arte  della  Seta,  was  one  of  the  wealthiest  of  the  seven  major  guilds. 
The  palace  of  its  consuls  was  next  door  to  the  church  of  S.  Maria  sopra  la 
Porta  and  close  to  the  Porta  S.  Maria,  one  of  the  gates  of  the  first  wall 
of  Florence  ; hence  this  guild  was  known  also  as  the  Arte  di  For  Santa 
Maria.  It  was  established  toward  the  end  of  the  twelfth  century,  and  by 
the  fifteenth  century  this  guild  had  in  Florence  eighty-four  workshops  in 
which  more  than  sixteen  thousand  operatives  were  employed  in  the  manufac- 
ture of  silk.  Florentine  silks,  brocades,  and  velvets  were  exported  to  many 
countries  of  Europe  and  even  to  the  East,  where  this  industry  began.  It 
embraced  many  craftsmen  of  varied  importance,  classified  as  Setaiuoli 
Grossi  and  Setaiuoli  Minuti.  Among  the  former  were  the  workers  in  gold 
and  silver,  orefici , who  assisted  in  the  production  of  cloth  of  gold  and  gold 
lace.  The  reconstruction  of  Or  San  Michele,  and  its  adornment,  seems 


LUCA  DELLA  ROBBIA 


135 


primarily  to  have  been  entrusted  to  this  guild.  It  was  perhaps  the  first  of 
the  guilds  to  construct  a tabernacle  for  its  patron  saint  on  the  exterior  of 
Or  San  Michele.  The  old  statue  of  S.  Giovanni  Evangelista  was  replaced 
in  1 5 1 5 by  a new  one  executed  by  Baccio  da  Montelupo.  Above  its  taber- 
nacle is  the  glazed  terra-cotta  medallion  (Fig.  86),  showing  the  stemma 
of  the  guild,  by  Luca  della  Robbia.  The  armorial  bearings  of  the  guild  show 
a white  doorway  with  red  stonework  on  a field  of  silver.  Donatello,  or 
one  of  his  followers  designed  for  the  palace  of  the  guild  a stemma  sur- 
rounded by  an  oak  frame  upheld  by  putti.  Charming  as  it  is,  that  by  Luca 
della  Robbia  is  more  dignified  and  beautiful.  Winged,  blue-eyed  putti  here 


Fig.  86.  Stemma  of  the  Silk  Merchants. 


stand  upon  clouds  against  a blue  sky  and  serve  as  supporters  of  a white 
shield  on  which  is  a fine  white  porta  with  violet  nails,  rings,  bolt  and  sur- 
rounding bossage.  The  pannellings  of  the  door  are  more  happily  pro- 
portioned than  those  of  the  Donatellescpie  stemma.  The  putti  are 
vigorous  and  lifelike,  nearer  to  Luca’s  angels  on  the  Cantoria  than  to 
Andrea  della  Robbia’s  bambini  on  the  Innocenti  hospital  or  to  the  cherubs 
on  his  altar  frames.  The  frame  consists  of  outer  mouldings  of  stone, 
half  of  which  is  a modern  restoration,  within  which  is  a band  of  fruit: 


i36 


LUCA  DELLA  ROBBIA 


quinces,  grapes,  pine  cones,  oranges,  and  pomegranates,  and  an  inner  egg 
and  dart  moulding.  The  composition  of  the  fruit  frieze  is  less  skilful  than 
that  of  the  Pazzi  and  Serristori  stemma  or  of  the  baldachino  at  Impruneta. 
It  was  baked  in  nine  sections,  and  consequently  shows  a broken  sequence 
in  the  alternation  of  the  dark  and  light-coloured  fruit.  The  dimensions  of 
these  sections  seem  not  to  have  been  accurately  calculated ; one  of  the 
sections  carries  only  two  instead  of  three  bunches.  The  arrangement  of  the 
fruit  and  of  the  leaves  is  more  monotonous  than  we  are  accustomed  to 
expect  from  Luca,  though  not  exhibiting  Andrea’s  characteristic  conven- 
tions. Was  this  Luca’s  first  effort  at  fruit  composition?  Or  did  he  entrust 
this  frame  to  his  nephew  Andrea?  Arguments  could  readily  be  found  to 
support  either  hypothesis,  according  to  the  date  assigned  to  the  relief.  If 
it  was  as  early  or  earlier  than  1450,  then  Andrea’s  assistance  is  out  of 
the  question,  but  if  it  be  as  late  as  1460  Andrea’s  cooperation  is  quite 
possible. 


BIBLIOGRAPHY 

Barbet  de  Jouy,  67-68;  Bode,  Kf.,  13,  24;  /.  k.  p.  K.,  XXI  (1900),  12;  Dcnkm.,  Tab.  233; 

FI.  Bildh.,  126;  FI.  Sc.,  87,  PI.  40;  Burlamacchi,  43-44,  108;  Carocci, 
A.  I.  D.  L,  V (1896),  Tav.  20;  Cavallucci  and  Molinier,  108,  212,  No.  40; 
Cocchi,  231;  Cruttwell,  154-155,  325;  Doering-Dachau,  21,  Abb.  28; 
de  Foville,  99;  Franceschini,  16-30,  74,  91-92;  Gerspach,  Rev.  Art  Chr., 
1898,  386;  Marquand,  A.  J.  A.,  VIII  (1893),  159-160,  PI.  5;  Reymond, 
D.  R.,  53-55;  Sc.  FI.,  II,  199-200;  Richa,  I,  22;  Schubring,  113,  Abb.  123; 
Staley,  204-235. 


37  THE  IMPRUNETA  TABERNACLE.  Impruneta,  Pieve  Collegiata 
di  S.  Maria.  Pbotos.,  Alinari,  Nos.  1 7003-1 7010;  Brogi,  Nos. 
9889-9891  ; Burton  & Co. 

Only  ten  kilometres  to  tbe  south  of  Florence  is  the  town  of  Impruneta, 
the  collegiate  church  of  which  contains  very  important  works  by  Luca 
della  Robbia.  They  were  insufficiently  described  in  a rare  work  by  G.  B. 
Casotti  in  1714  and  then  forgotten.  Cav.  Guido  Carocci,  inspector  of 
monuments  for  Tuscany,  in  his  I Dintorni  di  Firenze  in  1 88 1 merely  men- 
tioned them  as  “stupende  terrecotte  di  Luca  della  Robbia,”  but  in  1892  in  his 
II  comune  del  G alius zo  corrected  the  attribution  as  erroneous  and  says 
that  they  belong  to  a later  period.  Miss  Cruttwell  professes  to  see  in  them 
the  mind  and  hand  of  Andrea  della  Robbia  working  in  collaboration  with 


LUCA  DELLA  ROBBIA 


137 


his  uncle,  but  other  writers  are  unanimous  in  classing  them  among  the 
chef-d’oeuvres  of  Luca  himself. 

The  town  of  Impruneta  for  centuries  has  been  the  centre  of  a terra- 
cotta industry.  It  could  boast  of  many  families  engaged  in  that  industry  in 
the  fifteenth  century,  some  of  which  to  this  day  continue  to  manufacture 
large  garden  vases  and  architectural  ornaments.  In  the  neighboring  town 
of  Calcina  it  is  claimed  that  the  remains  of  a ruined  furnace,  where  now 
stands  the  Casa  Soldi,  mark  the  spot  where  Luca  della  Robbia  made  the 
terra-cotta  decorations  for  the  Pieve  of  S.  Maria  dell’  Impruneta.  This 
claim  may  possibly  be  true,  although  ordinarily  Robbia  terra-cottas  were 
baked  in  Florence  and  transported  to  remote  parts  of  Italy. 

The  Pieve  of  S.  Maria  was  founded  in  1054  by  the  Buondelmonti 
family,  who  continued  for  centuries  to  be  its  patrons.  In  the  fifteenth 
century  it  received  also  great  benefits  from  Antonio  di  Bellincione,  a member 
of  the  Cari  branch  of  the  Agli  family.  He  was  a canon  and  first  dean  of 
this  collegiate  church- — also  a bishop  of  Fiesole,  of  Volterra,  and  arch- 
bishop of  Ragusa.  The  old  Pieve  at  Impruneta  was  very  dear  to  his  heart 
and  from  the  year  1439  to  the  day  of  his  death  in  1477  he  contributed 
large  sums  for  its  restoration  and  adornment. 

The  decorations  in  which  Luca  della  Robbia  shared  were  the  two 
chapels  to  the  right  and  left  of  the  tribuna. 

A.  Cappella  della  Madonna.  Statues,  ceiling,  frieze,  Madonnas. 

This  chapel  (Fig.  87)  shelters  an  ancient  and  much  revered  painting 
of  the  Madonna,  the  authorship  of  which  was  attributed  to  S.  Luca, 
as  was  the  case  with  many  old  paintings  of  the  Byzantine  period. 
The  painting  was  thought  to  possess  miraculous  powers,  and  was  trans- 
ported to  Florence  in  solemn  procession  for  the  benefit  of  the  Florentines 
many  times  during  the  incumbency  of  Antonio  degli  Agli.  It  attracted 
pilgrims  and  was  the  central  object  in  a great  festival  when  annually  ex- 
posed to  the  view  of  the  faithful  in  the  month  of  October.  It  stimulated 
legend,  and  was  said  to  have  been  lost  and  recovered  in  the  fields  at  a 
spot  where  ploughing  oxen  fell  with  bended  knee  and  refused  to  proceed 
until  the  image  was  recovered.  This  story  was  figured  in  1323  on  the  old 
bell  of  this  church,  and  upon  the  new  bell  cast  in  1683.  It  was  reproduced 
in  copperplate  engraving  by  Stefano  della  Bella  in  1633,  from  which  the 


Fig.  87.  Impruneta.  Cappella  della  Madonna. 


LUCA  DELLA  ROBBIA 


139 


frontispiece  of  Casotti’s  book  was  copied.  It  was  also  figured  in  marble 
on  the  predella  of  the  tabernacle  of  this  chapel.  This  tabernacle  (Fig. 
88)  may  be  dated  from  the  middle  of  the  fifteenth  century,  as  it  bears  a 
strong  resemblance  to  the  Porta  del  Noviziato  at  S.  Croce  (c.  1445) 
and  the  more  beautiful  tabernacle  on  the  exterior  of  Or  San  Michele  which 
enshrines  Verrocchio’s  group  of  Christ  and  the  doubting  Thomas.  The 
Impruneta  tabernacle  is  generally  attributed  to  Michelozzo.  It  is  certainly 
not  by  Luca  della  Robbia,  but  by  some  pupil  of  Donatello,  possibly  Michel- 
ozzo or  Pagno  di  Lapo  Portigiani.  On  either  side  of  it  are  glazed  terra- 
cotta figures  of  S.  Paolo  and  S.  Luca  set  against  dark  blue  tiles,  which  are 
arranged  in  courses  to  imitate  stone  work.  The  figures  are  evidently  made 
by  a different  hand  from  that  which  made  the  tabernacle.  They  stand  on 
dark  greenish-brown  bases,  such  as  those  on  which  Luca  often  posed  his 
figures,  but  this  ground  is  not  flush  with  the  predella  of  the  tabernacle;  it 
projects  beyond  it.  The  two  designers  evidently  worked  independently  of 
each  other.  As  these  two  figures  are  manifestly  by  the  same  hand,  and  as 
they  seem  to  be  contemporaneous  with  the  figures  at  the  sides  of  the  taber- 
nacle in  the  adjoining  chapel,  we  may  suppose  that  this  tabernacle  was 
already  in  place  when  Luca  made  his  figures  and  could  not  easily  be  aligned 
with  the  bases  of  his  statues.  The  tabernacle  is  closed  today  by  a door- 
way of  silver  adorned  with  floral  scrolls  and  a central  medallion  in  no  way 
suggestive  of  the  Madonna.  Here  is  represented  the  Archangel  Raphael 
and  Tobias  with  the  fish,  in  memory  of  the  Cornpagnia  dell'  Angelo  Raf- 
facllo  which  presented  the  door  in  1712.  The  original  sportclli  of  wood 
with  tempera  paintings  representing  choirs  of  angels,  the  Annunciation 
with  saints,  etc.,  are  still  in  the  sacristy  of  the  church.  The  gradino  and 
paliotto  of  the  altar,  also  of  silver,  represent  the  local  story  of  the  Madonna, 
as  well  as  her  Coronation  and  Assumption,  but  the  central  medallion  dis- 
plays the  piety  of  the  Grancluca  Cosimo  III.  It  was  designed  by  Giovanni 
Battista  Foggini  and  executed  in  1695. 

(1).  S.  Paolo.  Photos.,  Alinari,  No.  17006;  Brogi,  No.  9889. 

S.  Paolo,  never  repeated  in  the  works  of  Luca,  held  in  one  hand  a 
sword,  of  which  the  hilt  only  remains,  and  in  the  other  a book  (Fig.  88). 
I cannot  with  Miss  Cruttwell  see  anything  uncharacteristic  of  Luca  in 
the  structure  of  the  figure  or  the  cast  of  the  drapery.  It  reminds  me  of  his 


140 


LUCA  DELLA  ROBBIA 


two  figures  of  S.  Giovanni  Evangelista,  one  in  the  Pazzi  Chapel  and  still 
more  of  the  one  on  the  bronze  sacristy  doors.  The  eyes  have  copper- 
coloured  irises  and  dark-blue  brows,  lashes  and  pupils. 

(2).  S.  Luca.  Photos,  Alinari,  No.  17006;  Brogi,  No.  9889. 

S.  Luca,  here  represented  because  of  bis  supposed  authorship  of  the 
painting  of  the  Madonna,  and  because  of  all  tbe  evangelists  he  gives  the 


Fig.  88.  Impruneta.  Tabernacle  of  the  Madonna. 

fullest  account  of  the  Virgin,  is  represented  with  pen  in  one  hand  and 
book  in  tbe  other  (Fig.  88).  The  type  is  similar  to  that  of  the  S.  Luca 
of  the  bronze  sacristy  doors  in  such  details  as  hair,  heard,  mode  of  holding 


LUCA  DELLA  ROBBIA 


141 

the  pen,  and  cast  of  drapery  ; but  is  finer  and  to  be  assigned  to  a slightly 
earlier  period. 

(3).  Ceiling  of  the  Cappella  della  Madonna.  Photo.,  Alinari, 
No.  17005. 

The  tabernacle  and  altar  of  the  Madonna  is  sheltered  beneath  a special 
baldachino,  thus  forming  at  this  corner  of  the  church  a Cappella  or  Tem- 
pietto.  This  baldachino,  apart  from  the  tawdry  roccoco  decoration  on 
top,  is  a product  of  the  fifteenth  century.  It  resembles  the  Cappella 
dell’  Annunziata  in  S.  Maria  dei  Servi  ordered  by  Piero  de’  Medici  and 
attributed  by  Vasari  to  Michelozzo,  but  inscribed  with  the  name  of  Dona- 
tello’s pupil  Pagno  di  Lapo  Portigiani  and  dated  1448.  The  balustrade 
surrounding  this  baldachino,  in  the  style  of  the  fifteenth  century,  appears  to 
have  been  the  gift  of  some  member  of  the  Buondelmonti  family,  as  their 
arms  appear  at  the  base.  It  dates  from  the  year  1650. 

The  ceiling  (Fig.  89)  contains  twelve  cofferings  separated  by  bands 
of  violet  or  of  green  edged  with  white.  Each  panel,  or  coffer,  contains  a 


Fig.  89.  Impruneta.  Ceiling  detail. 


central  yellow  rosette,  finely  designed  and  set  in  a blue,  concave,  fluted  disk. 
This  again  is  set  in  a narrow  white  circular  frame,  inscribed  in  a narrow 
square  frame,  the  angles  being  filled  with  pine  cones  and  needles  coloured 
naturalistieally.  The  needles  overlap  irregularly  the  adjoining  frames.  The 
pine  cones  are  an  evident  allusion  to  the  locality,  which  abounded  in  pine 
groves  and  gave  to  the  church  its  name  S.  Maria  in  Pineta,  corrupted  into 
Impruneta.  The  outer  mouldings,  with  the  serrated  leaf  and  dart  and  the 
plain  leaf  and  dart  set  in  opposing  directions  on  either  side  of  a bead  and 
reel,  are  the  same  as  those  in  the  cornice  of  the  Tabernacle  of  the  Holy 


14  -2 


LUCA  DELLA  ROBBIA 


Cross.  They  constitute  a richer  combination  than  Luca  had  used  in  the 
ceiling  of  the  Cappella  dell  Crocifisso  at  S.  Miniato  (1448),  or  on  the 
Federighi  Tomb  (1455). 

(4).  Frieze.  Photo.,  Alinari,  No.  17004. 

The  baldachino  does  not  stand  in  the  open,  but  is  set  in  a corner. 
Consequently  only  two  sides  of  its  entablature  are  exposed  to  view.  These 
have  highly  ornate  mouldings  for  architrave  and  cornice,  between  which  is 
a glazed  terra-cotta  frieze  showing  a polychromatic  fruit  garland,  inset  with 
two  representations  of  the  Madonna.  The  fruit  consists  of  grapes,  citrons, 
and  quinces,  arranged  in  groups  of  four,  alternately  dark  and  light.  These 
groups  correspond  to  the  sections  in  which  the  frieze  was  baked.  Rib- 


Fig.  go.  Impruneta.  S.  Frieze  of  Cappella  della  Madonna. 


bons  bind  the  groups  together  at  the  points  of  juncture.  There  is  also  a 
tendency  to  arrange  the  heavier  fruit  at  the  base  and  lighter  fruit  at  the 
top  of  a bunch.  The  western  frieze,  or  that  position  which  faces  the  en- 
trance of  the  church,  is  more  accurately  composed  than  the  other.  There 
are  exactly  three  bunches  on  each  side  of  the  central  Madonna ; the  bunches 
nearest  the  centre  are  golden  in  colour,  thus  contrasting  well  with  the 
Madonna’s  blue  background  and  are  distinguished  from  the  rest  by  flowers 
mingled  with  the  fruit ; the  terminal  bunches  are  designed  so  as  to  reach 
the  end  satisfactorily.  The  southern  frieze  (Figs.  90-91)  is  somewhat 
longer,  and  the  extra  leng'th  is  made  up  by  a half  bunch  of  grapes  on  one  side 
and  by  a vacant  space  near  the  wall.  The  extra  half  bunch  of  grapes  was 


LUCA  DELLA  ROBBIA 


143 


actually  set  in  the  position  of  honour  next  to  the  Madonna,  and  one  of  the 
groups  of  quinces  with  flowers,  which  should  have  been  placed  next  to 
the  Madonna,  was  moved  to  the  end  of  the  frieze.  This  detracts  from 
the  beauty  of  the  composition,  as  Luca  designed  it,  and  makes  us  believe 
that  he  was  not  properly  advised  as  to  the  dimensions  of  the  baldachino, 


Fig.  91.  Impruneta.  S.  Frieze  of  Cappella  della  Madonna. 


or  that  this  side  was  set  up  in  his  absence.  It  may  be  even  that  it  once 
decorated  the  western  frieze  of  the  other  baldachino  and  was  transferred 
to  its  present  position  in  the  seventeenth  century.  In  style  this  frieze 
is  similar  to  the  frame  with  fruit  about  the  Pazzi  sternma  in  the  Serristori 
palace,  which  we  have  assigned  to  this  decade. 

(5)  and  (6).  The  Madonnas.  Photo.,  Alinari.,  No.  17004  a. 

These  two  Madonnas  are  essentially  identical  in  dimensions,  in  com- 
position, in  style.  Slight  differences  may  be  noted.  The  Madonna  which 
occupies  the  principal  or  western  frieze  (Fig.  92)  wears  a veil,  her  face 
is  rather  more  oval,  her  ear  less  distinctly  marked,  her  mouth  larger,  her 
expression  sadder.  Her  drapery  is  cast  in  slightly  different  folds  and  the 
glazing  is  more  successful.  In  comparison,  the  second  Madonna  (Fig. 
93)  may  be  described  as  a replica  or  copy,  made  in  Luca’s  studio,  under  his 
supervision,  in  large  measure  the  work  of  his  own  hand,  to  decorate  the 
same,  or  the  adjoining  monument,  in  response  to  one  and  the  same  de- 
mand. In  this  Madonna  Luca  made  no  effort  to  portray  a miracle-work- 
ing, supernatural  being.  This  Madonna  wears  no  nimbus,  but  she  looks 


Fig.  92.  Impruneta.  Madonna  of  the  W.  Frieze. 


Fig.  93.  Impruneta.  Madonna  of  the  S.  Frieze. 


LUCA  DELLA  ROBBIA 


145 


sadly  into  the  future,  as  a human  mother  might,  who  anticipates  sorrow. 
She  is  essentially  a Mater  Dolorosa.  The  Child,  equally  human,  trustfully 
reclining  on  his  mother’s  breast,  carries  no  symbol  of  divinity  and  makes 
no  sign  of  blessing. 

This  for  Luca  was  the  real  S.  Maria  in  Pineta,  and  its  popularity  is 
shown  by  the  many  copies  which  survive.  It  has  a close  affinity  to  one 
of  Luca's  best  known  Madonnas,  the  Madonna  of  the  Apple  in  the  Museo 
Nazionale,  and  was  doubtless  made  at  the  same  period. 

B.  Cappella  della  Croce.  Photo.,  Burton  & Co. 

The  chapel  to  the  right  of  the  Tribuna  is  formed  by  a similar  baldachino 
(Fig.  94),  and  also  contains  a tabernacle  in  which  is  enshrined  a treasure 
of  importance — a fragment  of  the  true  Cross  presented  by  Filippo  degli 


Fig.  94.  Impruneta.  Cappella  della  Croce. 

Scolari,  known  as  Pippo  Spano,  who  died  in  1426.  The  silver  reliquary  in 
which  this  treasure  is  kept  was  made  by  Cosimo  Merlini  in  1636,  and 
presented  by  Maria  Maddalena  of  Austria,  Grandduchess  of  Tuscany. 


146 


LUCA  DELLA  ROBBIA 


This  reliquary  is  preserved  in  a very  beautiful  glazed  terra-cotta  taber- 
nacle, which  surpasses  in  beauty  the  tabernacle  of  the  Madonna,  is  flanked 
by  statues,  and  has  a predella  extending  across  the  entire  width  of  the 
chapel. 

(1).  Christ  on  the  Cross.  Photos.,  Alinari,  No.  17010;  Brogi,  No.  9891. 

The  centre  of  the  tabernacle  is  now  occupied  by  a bronze  grille  on  which 
is  represented  a cross  elaborately  ornamented  with  emblems  of  the  passion 
and  surrounded  by  floral  scrolls.  This  was  not  part  of  the  original  taber- 
nacle but,  like  the  reliquary,  was  made  by  Merlini  in  1636.  Originally 


Fig.  95.  Impruneta.  Christ  on  the  Cross. 


LUCA  DELLA  ROBBIA 


14  7 


this  space  was  occupied  by  the  relief  of  Christ  on  the  Cross  (Fig-.  95) 
now  in  an  adjoining  chapel.  This  relief  is  1.50  m.  high  and  0.65  m.  wide. 
Above  the  cross  is  figured  the  pelican  plucking  her  breast  to  feed  her 
young  with  her  own  blood ; at  the  head  of  the  cross  is  affixed  the  inscrip- 
tion 1 • N • R • 1 ■;  at  the  sides  of  the  crucified  one  are  weeping  angels;  at  the 
base  stand  the  sorrowing  Mother  and  the  Beloved  Disciple ; a skull,  the 
emblem  of  Golgotha,  is  placed  at  the  foot  of  the  cross.  The  figures  are  white 
against  a blue  ground,  but  the  pelican  nest  is  green,  the  cross  imitates  the 
colour  and  grain  of  wood,  and  the  ground  is  greenish-gray.  The  Christ  may 
be  recognized  as  the  same  Christ  which  Luca  had  represented  in  the  Peretola 
tabernacle  and  on  the  Federighi  tomb,  but  is  older  and  shows  more  pathos. 
The  anatomy  of  the  torso  and  of  the  arms  is  more  highly  developed.  The 
angels  at  his  side  recall  those  of  the  Resurrection  relief  in  the  Cathedral  of 
Florence,  but  are  here  distraught  with  anguish.  The  Madonna  is  more 
deeply  moved  than  in  the  Pieta  of  the  Federighi  tomb,  but  like  her  holds  a 
bunch  of  drapery  between  her  arms.  S.  Giovanni,  who  has  just  taken  a long 
step  toward  the  cross,  is  less  restrained  in  the  expression  of  his  grief. 

This  is  a remarkably  emotional  conception  of  the  crucified  one  and 
shows  that  in  Luca’s  eyes  the  relic  within  the  tabernacle  symbolized  events 
of  deep  significance.  The  Mater  Dolorosa  of  the  Cappella  della  Ma- 
donna here  beholds  all  her  fears  realized  as  she  stands  the  Stabat  Mater 
beneath  the  cross. 

(2).  The  Tabernacle  of  the  Holy  Cross.  Photos.,  Alinari,  Nos. 

1 7007-1 7009;  Brogi,  No.  9890. 

The  architectural  framework  which  formerly  encircled  the  relief  of  the 
Holy  Cross  is  the  most  elaborate  and  beautiful  of  all  Robbia  frames  (Fig. 
96).  Together  with  the  predella  it  is  3.36  m.  high.  The  gable  is  much  more 
massive  than  that  of  the  tabernacle  of  the  Madonna,  reminding  11s  of 
Luca’s  tabernacle  at  Peretola,  without  sculptured  decoration  apart  from 
its  rich  mouldings.  We  may  note  the  peculiar  type  of  egg  and  dart  mould- 
ing, used  elsewhere  only  in  the  frame  of  the  Rene  d'Anjou  medallion. 
Luca  made  a somewhat  similar  use  of  such  mouldings  on  the  Federighi 
tomb,  the  Portogallo  chapel,  and  elsewhere,  but  nowhere  are  they  so 
finely  composed  as  here.  The  enamelled  frieze  with  its  small  rosettes  of 
yellow  on  larger  rosettes  of  blue  enclosed  in  a guillochc  resembles  but  is 


Fig.  96.  Impruneta.  Tabernacle  of  the  Holy  Cross. 


LUCA  DELLA  ROBBIA 


149 


more  elaborate  than  the  base  of  the  tabernacle  at  Peretola.  The  architrave 
shows  a more  refined  sense  of  proportion  in  the  relative  heights  of  the 
successive  parts.  The  pilaster  capitals  are  of  similar  Brunelleschian  type, 
but  the  shafts  are  no  longer  fluted,  they  are  filled  with  charming  arabesques 
relieved  against  a background  alternately  violet,  blue,  and  green,  produc- 
ing almost  an  irridescent  effect.  Between  the  pilasters  the  spandrels  are 
filled  with  blue  disks  framed  in  white  and  set  against  a mottled  green  back- 
ground, recalling  the  angles  of  the  Federighi  tomb  and  the  frames  of  some 
of  Luca's  Madonnas.  The  base  of  the  tabernacle  is  beautifully  painted 
with  pine  cones,  an  evident  allusion  to  the  locality. 

(3) .  S.  Giovanni  Battista.  Photos.,  Alinari,  No.  17007;  Brogi,  No. 

9890. 

The  Baptist  is  here  portrayed  (Fig.  96)  as  the  forerunner  who  points 
toward  the  Christ.  He  is  clad  in  hair-cloth  and  carries  a cross.  He  was 
a patron  saint  of  Impruneta  and  had  a chapel  almost  directly  below  this 
very  Tabernacle.  We  naturally  compare  this  representation  of  S.  Giovanni 
with  that  on  the  bronze  sacristy  doors.  This  figure  is  milder  and  less 
haggard,  and  yet  evidently  by  the  same  sculptor.  He  has  the  same  facial 
type,  the  same  swinging  drapery  over  the  garment  of  hair,  the  same  strong 
shinbone  and  carefully  modelled  feet;  the  same  cross  mo  line,  which  is 
grasped  in  the  same  way.  He  stands  upon  brownish  ground  which  slopes 
downward  toward  the  spectator.  His  eyes  have  dark  yellow  or  copper- 
coloured  irises  and  blue  brows,  lashes,  pupil  and  iris  boundaries.  This  is  one 
of  Luca’s  finest  figures,  full  of  grace  and  charm. 

(4) .  S.  Agostino.  Photos.,  Alinari.  No.  17007;  Brogi,  No.  9890. 

This  figure  of  a bishop  blessing  has  been  called  S.  Romolo,  S.  Zan- 
obi,  and  S.  Ambrogio,  but  is  more  properly  designated  S.  Agostino,  the 
greatest  of  the  Doctors  of  the  church  (Fig.  96).  Lie  resembles  in  type 
the  S.  Agostino  modelled  by  Luca  della  Robbia  for  the  bronze  sacristy 
doors,  but  his  mitre  and  collar  and  pluvial  button  are  more  decorative.  He 
is  the  symbol  of  the  church  as  the  body  of  Christ,  dispensing  its  blessing 
and  guarding  its  doctrines. 


LUCA  DELLA  ROBBIA 


150 

(5).  ThePredella.  Photos.,  Alinari,  Nos.  17008-17009. 

The  predella  was  baked  in  sections  ingeniously  divided.  Between 
simple  mouldings  are  represented  eight  angels,  two  pair  on  either  side  of 


Fig.  97.  Impruneta.  Predella  of  Tabernacle  of  the  Holy  Cross. 


a central  door.  The  door  is  heavy,  like  the  door  of  a tomb.  The  decoration 
of  the  predella  indicates  that  the  tabernacle  was  originally  designed  not  as 
a reliquary,  but  as  a ciborium  or  place  of  deposit  for  the  Sacred  Host.  The 
two  terminal  angels  are  boy  angels,  each  with  an  inscribed  scroll,  one  taken 
from  the  Epistle  (Fig.  97),  the  other  from  the  Gospel  (Fig.  98)  read  in 
the  mass.  That  to  the  left  reads: 

PROBET  AVTEM  SEIPSVM  HOMO 
ET  SIC  DE  PANE  ILLO  EDAT 

taken  from  1 Cor.,  XI,  28. 

That  to  the  right  is  inscribed : 

HIC  EST  PANIS  VIVVS 
OVI  DE  CELO  DESCENDIT 

taken  from  S.  John,  VI,  58:  but  occurring  in  the  ritual  under  the  heading 
Homilia  Saudi  Augustini  Episcopi.  All  the  angels  are  conceived  with 


LUCA  DELLA  ROBBIA 


151 

great  simplicity  and  genuine  devotion.  As  in  other  reliefs  Luca  adopts 
a well-balanced  composition,  involving  repetition  without  monotony  and 
unity  with  variety.  The  facial  types,  and  the  fluttering  drapery  revealing 


Fig.  98.  Impruneta.  Predella  of  Tabernacle  of  the  Holy  Cross. 


well  constructed  forms,  link  these  angels  with  the  virtues  of  the  Portogallo 
Chapel,  which  were  doubtless  modelled  about  the  same  time. 

(6) .  The  Ceiling.  Photo.  Compare  Alinari,  No.  17005. 

The  ceiling  of  the  baldachino  is  similar  to  that  of  the  Cappella  della 
Madonna,  showing  twelve  cofferings  with  central  rosettes  and  pine  cones 
in  the  angles. 

(7) .  The  Frieze.  Photo.,  Burton  & Co. 

The  frieze  of  this  baldachino  now  contains  a band  of  putti  of  stucco 
(Fig.  94).  Miss  Cruttwell  believes  that  this  frieze  was  executed  at  the 
time  of  the  “restoration"  of  the  church  in  the  seventeenth  century,  and 
that  originally  this  chapel  was  decorated  with  a fruit  frieze  similar  to 
that  of  the  Cappella  della  Madonna.  She  suggests  that  this  frieze  “is 
probably  still  in  existence  hidden  away  in  some  French  chateau  or  the 
cellars  of  some  museum.”  On  the  contrary  it  seems  to  have  been  trans- 
ported across  the  aisle  of  the  church  and  somewhat  clumsily  set  as  a side 
frieze  for  the  Cappella  della  Madonna. 


!52 


LUCA  DELLA  ROBBIA 


BIBLIOGRAPHY 

XVIII  cent.,  Casotti,  34-54; 

XIX  cent.,  Carocci,  Dint.  (1881),  225;  Gcilluzzo,  145-160;  A.  I.  D.  /.,  VI  (1897),  Tav.46; 

Marquand,  A.  J.  A.,  VIII  (1893),  161-170,  Pis.  6-8;  Scribner’s,  1893,  694; 
A.  J.  A.,  XI  (1894),  21;  Reymond,  D.  R.,  67-83,  106-107;  Sc.  FI.,  II, 

207-210,  223-224; 

XX  cent.,  Bode,  /.  k.  p.  K.,  XXI  (1900),  13-15;  Detikm.,  68-70,  Taf.  234;  FI.  Bildh., 

127-131,  Abb.  70-71;  FI.  Sc.,  88-91;  Pis.  41-42;  Miinch.  Jahrb.,  I (1906), 
28-29;  Burckhardt,  II,  182,  233,  428;  Burlamacchi,  32-35;  114;  Carocci, 
Dint.  (1906-1907),  II,  329-331;  Cruttwell,  108-118,  324;  Fabriczy, 
J.  k.  p.  K.,  XXV  (1904),  Beih.,  42;  de  Foville,  52,  69-73;  Michel,  IV, 
85-86;  Fig.  60;  Reymond,  Riv.  d’Arte,  II  (1904),  97;  Sachs,  23,  Taf.  4; 
Schottmiiiller  /.  k.  p.  K.,  XXVII  (1906),  226;  Schubring,  56-64,  Abb.  55- 
58;  Venturi,  VI,  578;  Waters,  191-192. 

38  THE  GENOESE  MADONNA.  Vienna.  Collection  of  Herr 
G.  Benda.  H.,  0.51  m. ; W.,  0.37  m.  Photos.,  Alinari,  Nos.  15000- 
15001  ; Noack,  No.  720. 

This  relief  (Fig.  99)  was  purchased  in  1904,  after  having  stood  for 
many  years  in  a Gothic  tabernacle  in  the  courtyard  of  the  Casa  Serra,  in 


Fig.  99.  The  Genoese  Madonna,  Benda  Collection. 


LUCA  DELLA  ROBBIA 


153 


the  Vico  delle  Mele,  No.  20,  Genoa.  Hence  it  is  frequently  called  the 
Genoese  Madonna.  Three  replicas  are  known;  one  in  the  Berlin  Museum, 
a second  in  the  Simon  collection,  Berlin,  and  a third  in  the  Museo 
Nazionale,  Florence. 

The  type  of  Madonna  is  not  that  of  the  S.  Pierino  and  Via  dell’  Agnolo 
and  the  Urbino  lunettes,  nor  of  the  bronze  sacristy  doors,  but  approximates 
the  type  of  the  Madonnas  which  decorate  the  frieze  of  one  of  the  baldachinos 
at  Impruneta.  It  is  a Madonna  of  the  same  intimate  type,  less  hieratic, 
more  human.  The  mother’s  head  is  tilted  so  as  to  touch  that  of  the  Child 
whom  she  presses  to  herself.  Her  eyes  are  said  to  have  yellow  irises,  violet- 
black  pupils,  iris  boundaries  and  lashes,  and  eyebrows  without  colour.  It 
may  be  noted  that  the  Madonna’s  sleeves  are  buttoned,  as  in  earlier 
examples,  but  she  now  wears  an  ornamental  wristband.  The  Child  re- 
sembles the  putti  upholding  the  stemma  of  the  Arte  della  Seta.  He  is  not 
a little  divinity.  He  raises  no  hand  in  blessing,  he  carries  no  inscribed 
scroll,  nor  even  a symbolic  apple.  He  is  an  affectionate,  smiling  infant 
clad  in  his  everyday  smock.  Possibly  Luca  felt  that  he  had  overemphasized 
the  human  qualities  of  mother  and  child,  and  so  added  the  haloes  lest  some 
one  might  fail  to  recognize  the  heavenly  characters  represented. 

BIBLIOGRAPHY 

Bode,  FI.  Bildh.,  134,  Fig.  73;  FI.  Sc.,  94;  Munch.  J.  b.  K.,  I (1906),  29-31;  Cruttwell, 
345;  Doering-Dachau,  18,  Abb.  23;  Michel,  IV,  84;  Reymond,  Riv.  d’Arte, 
II  (1904),  96. 

39  1 HE  GENOESE  MADONNA,  Eduard  Simon  Collection,  Berlin. 

H.,  0.51  m. ; W.,  0.37  m.  Photo.,  private. 

This  relief  (Fig.  100)  is  a replica  of  the  Genoese  Madonna  in  the 
Benda  Collection,  Vienna.  It  shows  gilding,  both  ancient  and  modern,  on 
the  halos,  hair,  borders  of  garment,  wristbands  and  girdle.  There  are  also 
slight  differences  in  the  modelling.  The  eyes  of  the  Madonna  are  said 
to  have  gray-blue  irises  and  violet  pupils. 

BIBLIOGRAPHY 

See  Bibliography  under  Xos.  38,  40,  and  41;  also  Marquand,  D.  R.  A.,  Fig.  4. 


154 


LUCA  DELLA  ROBBIA 


Fig.  ioo.  The  Genoese  Madonna, 
Ed.  Simon  Collection. 


40  THE  GENOESE  MADONNA,  Berlin  Museum.  Kaiser-Eriedrich- 
Museum,  No.  69  (Old  No.  116  P).  H.,  0.52  m. ; W.,  0.37  m. 

Photo.,  Berlin  Museum 

This  relief  (Fig.  101),  formerly  in  the  collection  of  Lady  Eastlake, 
was  purchased  in  1894  and  presented  to  the  Berlin  Museum  in  1900  by 
Herr  von  Friedlander-Fould.  It  has  a fine  blue  background  and  like  the 
Simon  Madonna  a base  with  chamfered  edges.  The  eyebrows  are  left 
uncoloured,  but  pupils,  iris  boundaries,  and  upper  lashes  are  dark  copper 
colour.  The  general  modelling  is  less  crisp  than  that  of  the  Benda  Ma- 
donna, but  some  details,  like  the  buttons  on  the  Madonna’s  sleeves,  are 
more  clearly  indicated. 


LUCA  DELLA  ROBBIA 


155 


Fig.  ioi.  The  Genoese  Madonna,  Berlin  Museum. 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXT  (1900),  17-18;  Denkm.,  72,  Tab.  223;  FI.  Bildh.,  134;  FI.  Sc.,  94; 

Miinch.  Jahrb.,  I (1906),  29-30;  It.  PL,  89;  Cruttwell,  334;  Doering- 
Dachau,  23,  Abb.  36;  de  Poville,  63;  Schottmuller,  31-32,  No.  69  (I. 
2332) ; Schubring,  81;  Venturi,  VI,  563,  Fig.  377. 


41  THE  GENOESE  MADONNA,  Museo  Nazionale.  Florence,  Mus. 
Naz.,  No.  10.  H.,  0.51  m. ; W.,  0.37  m.  Photos.,  Alinari, 

No.  3717;  Brogi,  No.  9495. 

This  relief  (Fig.  102)  was  formerly  in  the  Convent  of  S.  Lucia; 
in  1884  it  was  in  the  cortile  of  the  Accademia ; later  it  was  removed  to  the 
Museo  Nazionale.  It  has  suffered  some  damage.  Some  of  the  glaze  is  gone 
from  the  Virgin's  face  and  the  Child  has  lost  the  greater  part  of  his  halo. 
The  eyes  have  gray-blue  irises,  violet  pupils  and  upper  lashes. 

As  a replica  of  the  Benda,  Simon,  anil  Eastlake  Madonnas,  this  is 
a duller  reproduction.  The  ornament  on  the  wristband,  even  the  buttons 


156 


LUCA  DELLA  ROBBIA 


of  the  left  sleeve  are  seen  no  more.  I can  see  no  sufficient  reason,  how- 
ever, to  attribute  it,  with  Miss  Cruttwell,  to  Andrea  della  Robbia. 


Fig.  102.  The  Genoese  Madonna,  Museo  Nazionale. 
BIBLIOGRAPHY 

XIX  cent.,  Barbet  de  Jouy,  60-61;  Cavallucci  et  Molinier,  220,  No.  89;  Marquand, 

A.  J.  A.,  IX  (1894),  2-5  Reymond,  D.  R.,  109;  Sc.  FI.,  II,  224-225;  Rossi, 
A.  S.  A.,  VI  (1893),  8;  Supino,  437,  No.  10; 

XX  cent.,  Bode,  /.  k.  />.  K.,  XXI  (1900),  16-18;  FI.  Bildh.,  134;  FI.  Sc.,  94; 

Munch.  Jahrb.,  I (1906),  29-30;  Burlamacchi,  48,  109;  Cruttwell,  156- 
1 57,  325;  Schubring,  Si.  Abb.  81;  Venturi,  VI,  578,  note  1 ; La  Madonna,  29. 

42  THE  MADONNA  OF  THE  NICHE,  Bliss  Collection.  New  York, 
Collection  of  Mrs.  George  T.  Bliss.  H.,  0.465  m. ; W.,  0.38  m. 
Photos.,  Gavet,  Paris;  Cox,  New  York. 

This  charming  relief  (Fig.  103)  prior  to  1895  was  in  the  collection 
of  Emile  Gavet,  Paris.  It  was  then  in  the  collection  of  Henry  G.  Mar- 


LUCA  DELLA  ROBBIA 


I57 


quand,  New  York,  until  1903,  when  it  was  purchased  by  Mrs.  George 
T.  Bliss. 

It  is  framed  in  a terra-cotta  niche  glazed  in  an  unusual  manner  with  a 
turquoise-blue  enamel.  Gold  lines  divide  the  conch  and  its  dado  vertically 
into  a series  of  panels.  On  the  outer  borders  of  the  frame  are  gilded  scrolls 
and  other  ornaments.  The  unusual  blue  may  be  paralleled  by  the  colour 
experiments  made  by  Luca  in  the  well  known  Madonna  of  the  Apple  in  the 
Museo  Nazionale  and  in  other  monuments.  The  use  of  circles  enclosing  the 
coats  of  arms  in  the  spandrels  remind  us  of  the  somewhat  similar  treatment 


Fig.  103.  Madonna  of  the  Niche.  Bliss  Collection. 


in  the  upper  angles  of  the  frame  of  the  Federighi  tomb.  The  arms  possibly 
record  a union  of  some  branch  of  the  Bartorelli  and  Baldi  families 

This  Madonna  is  to  be  classed  with  the  Impruneta  and  the  Genoese 
Madonnas.  She  wears  a delicately  constructed  veil  and  her  features  show 
Luca's  fondness  for  waving  hair,  gray-blue  eyes,  straight  nose,  partly  opened 
mouth,  and  pointed  chin.  She  wears  also  the  plain  linen  girdle.  Traces 


158 


LUCA  DELLA  ROBBIA 


of  gilding  remain  on  the  hair  and  garment.  The  composition  is  of  a more 
intimate  character  than  that  of  the  Madonnas  in  the  lunettes  of  churches. 
Her  head  is  tilted  toward  the  Child,  she  fondles  his  uplifted  foot,  and 
supports  his  body,  while  with  both  arms  about  his  mother’s  neck  he  places 
his  head  against  her  cheek.  The  hit  of  drapery  across  the  loins  of  the  Child 
is  indeed  somewhat  unusual,  but  is  apparently  original.  Our  illustration  is 
made  from  a photograph  taken  for  M.  Gavet  before  he  had  any  thought 
of  disposing  of  his  collections.  The  drapery  then  cannot  be  regarded  as 
Schubring  suggests,  as  a concession  to  American  standards  of  modesty. 
Marcel  Reymond  was  as  wrong  in  assigning  this  relief  to  the  early  years  of 
the  sixteenth  century  as  in  attributing  it  to  Andrea  della  Robbia.  Andrea’s 
Madonnas  of  the  years  1489,  1505,  and  1509  are  well  known  by  documented 
examples  still  existing  in  the  Opera  del  Duomo,  Florence,  over  the  entrance 
portal  of  the  Duomo  at  Pistoia,  and  over  the  portal  of  Santa  Maria  della 
Quercia  at  Viterbo.  These  types  are  far  removed  from  that  of  the 
Genoese  Madonna.  More  recently  M.  Reymond  has  admitted  that  the 
Gavet-Bliss  Madonna  is  the  handiwork  of  Luca. 


BIBLIOGRAPHY 

XIX  cent.,  Marquand,  A.  J.  A.,  IX  (1894),  14,  PI-  6;  Reymond,  D.  R.,  204;  Sc.  FI., 

Ill,  I/4-I75; 

XX  cent.,  Bode,  J.  k.  p.  K.,  XXI  (1900),  23;  Munch.  Jahrb.,  I (1906),  29; 

Denkm.,  74,  Taf.  227;  FI.  Bildh.,  144;  FI.  Sc.,  101-102;  Cruttwell,  157,  326; 
de  Foville,  76;  Marquand,  in  Cat.  Marquand  Coll.,  No.  1198;  D.  R.  A.,  7-8; 
Fig.  3;  Reymond,  Riv.  d’Arte,  II  (1904),  98  note;  Schubring,  79,  81, 
Abb.  82;  Spemann’s  Museum,  No.  245. 


43  the  MADONNA  OF  THE  NICHE,  Shaw  Collection.  Boston 
(Jamaica  Plain),  Collection  of  Mrs.  O.  A.  Shaw.  H.,  0.465  m. ; 
W.,  0.385  m.  Photo.,  private. 

This  relief  (Fig.  104)  is  a replica,  with  variations,  of  the  Madonna 
in  Mrs.  George  T.  Bliss’s  collection,  and  is  slightly  inferior  to  it  in  modelling. 
It  may  be  observed,  for  example,  that  the  fingers  of  the  Child's  right  hand, 
clearly  visible  in  the  Bliss  Madonna,  are  here  indistinctly  indicated.  It 
is  probable  that  this  example  was  a second  cast  from  the  same  mould. 
Besides  the  difference  in  modelling-,  other  variations  may  be  noticed.  The 
Child  here  is  entirely  nude,  and  the  Virgin’s  mantle  serves  more  completely 


LUCA  DELLA  ROBBIA 


159 


as  a background  for  the  lower  part  of  his  body.  The  niche  has  also  been 
modified.  It  has  fewer  panellings.  These  are  blue  in  colour,  and  are 
separated  by  ribs  of  turquoise-blue.  In  the  spandrels  on  the  face  of  the 
frame  green  is  introduced,  and  the  circular  disks,  which  may  have  been 


Fig.  104.  Madonna  of  the  Niche.  Shaw  Collection. 

ornamented  with  coats  of  arms,  are  now  empty.  Much  of  the  ancient 
gilding  has  disappeared,  but  traces  of  it  are  found  in  the  hair  of  both 
Virgin  and  Child,  on  the  girdle  and  on  the  borders  of  the  Virgin’s  mantle, 
and  at  various  places  on  the  niche  and  frame.  On  the  whole,  this  is  not 
quite  so  fine  an  example  of  Luca's  handiwork  as  the  Bliss  Madonna.  Miss 


i6o 


LUCA  DELLA  ROBBIA 


Cruttwell  accordingly  removes  it  from  the  works  of  the  master  and 
classes  it  as  atelier  work.  In  my  judgment  it  is  a replica  made  in  Luca’s 
atelier  under  his  supervision,  and  if  it  had  been  customary  to  sign  such 
works  it  would  have  borne  Luca's  signature. 

BIBLIOGRAPHY 

See  Bibliography  under  No.  42;  also  Bode,  FI.  Bildh.}  144,  Abb.  20;  Marquand,  D.  R.  A., 
8,  Fig.  5. 

44  THE  FRIEDRICHSTEIN  MADONNA.  Berlin,  Kaiser-Friedrich- 
Museum.  H.,  0.475  m-  > W.,  0.38  m.  Photo.,  Berlin  Museum. 

This  relief,  which  we  may  call  the  Friedrichstein  Madonna  (Fig.  105), 
was  presented  to  the  Berlin  Museum  before  1889  by  Count  Donhoff- 
Friedrichstein.  The  frame  has  a blue  disk  in  each  corner  and  light  green 


Fig.  105.  The  Friedrichstein  Madonna. 

stripes  on  its  four  faces,  a type  of  ornament  which  recalls  the  Impruneta 
ceiling  and  the  frames  of  the  Bliss  and  Shaw  Madonnas.  The  figures, 
somewhat  damaged,  are  glazed  white,  but  their  eyes  have  gray-blue  irises, 
violet  upper  lashes  and  pupils. 

The  composition  shows  the  human  quality  of  Luca’s  latest  productions. 
Haloes  and  other  symbols  of  divinity  are  lacking;  only  tbe  blue  sky  re- 


LUCA  DELLA  ROBBIA 


161 


mains  to  indicate  that  the  scene  is  in  heaven.  The  lower  contours  suggest 
an  acquaintance  with  composition  for  medallions.  The  types  and  details 
are  those  of  Luca  himself,  not  as  Miss  Cruttwell  and  Marcel  Reymond 
suggest  of  Andrea  working  in  imitation  of  his  uncle.  A much  injured 
replica  was  formerly  in  the  Somzee  Collection,  Brussels. 

BIBLIOGRAPHY 

Bode,  A.  S.  A.,  II  (1889),  6,  8;  J.  k.  />.  K.,  XXI  (1900),  25;  Denkm.  75,  Taf.  223;  FI. 

Bildh.,  150;  FI.  Sc.,  105;  It.  PL,  87;  Cruttwell.  135,  157,  325;  Doering- 
Dachau,  24,  Abb.  37;  Marquand,  A.  J.  A.,  IX  (1894),  14-15,  PI.  6; 
Reymond,  D.  R.,  123-124;  Sc.  FI.,  II,  232;  Schottmuller,  31-32,  No.  68  (I. 
153);  Venturi,  VI,  563;  La  Madonna,  30. 


45  STEMMA  OF  JACOPO  DEI  PAZZI.  Florence,  Palazzo  Serristori. 

Diam.,  1.80  m.  Photos.,  Alinari,  No.  17040;  Brogi,  No.  13279. 

In  the  Palazzo  Serristori  may  be  seen  today  two  fine  large  medallions 
on  which  are  represented  the  stemmi , or  coats  of  arms,  of  the  Pazzi  and 
Serristori  families.  These  were  removed  in  1899  from  the  Palazzo  Quara- 
tesi,  on  the  Via  del  Proconsclo,  a building  erected  by  Jacopo  dei  Pazzi 
shortly  after  the  death  of  his  father  (1445)  and  enlarged  after  the  pur- 
chase of  an  adjoining  building  in  1462.  The  two  medallions  evidently  com- 
memorate the  marriage  of  Jacopo  dei  Pazzi  and  of  Maddalena  dei  Serristori. 
The  original  document,  which  recorded  the  date  of  this  marriage  seems  to 
have  been  lost.  Litta,  accordingly,  in  bis  Famiglie  celcbri,  mentions  the 
alliance,  but  gives  no  date.  But  my  friend  Rufus  G.  Mather  has  found  in 
the  Florentine  Archivio  an  eighteenth  century  compilation  known  as  the 
Ancisa  CC,  which  contains  a large  number  of  entries  concerning  the  Pazzi 
family.  On  page  685  he  found  that  Jacopo  dei  Pazzi  and  Maddalena  dei 
Serristori  were  married  in  the  year  1446.  This  gives  us  the  terminus  a quo 
for  these  medallions.  A still  later  date  may  be  deduced  from  the  introduc- 
tion of  the  crescent  beneath  the  Pazzi  arms.  The  Order  of  the  Crescent 
was  established  in  Italy  by  Rene  d’Anjou  in  1448,  and  Jacopo  dei  Pazzi 
was  made  a member  of  it  in  1453.  For  some  years  Jacopo  had  been  contrib- 
uting for  the  decoration  of  the  Pazzi  Chapel,  in  which  Luca  della  Robbia 
had  so  large  a share.  Hence  it  is  likely  that  not  long  after  1453  ^ie  would 
have  commissioned  Luca  della  Robbia  to  make  these  coats  of  arms.  The 
terminus  ad  quern  for  the  medallions  is  the  year  1478,  when  after  the 


LUCA  DELLA  ROBBIA 


162 

Pazzi  conspiracy,  Jacopo  was  put  to  death,  his  palace  confiscated  and  sold, 
and  his  wife  retired  to  a convent. 

The  Pazzi  arms  (Fig.  106)  were  defaced  after  1478,  and  those  of 
Cardinal  Estouteville  or  of  some  other  subsequent  owner  of  the  palace 
superposed  upon  the  shield.  The  latter  arms  have  now  been  almost  entirely 
removed  and  traces  of  the  Pazzi  arms  revealed.  These  show  two  dolphins 
hauriant,  embowed,  addorsed,  or,  on  a field  azure  seme  of  five  crcsslets 
botonny,  fitched,  or,  set  below  the  label  of  Anjou,  which  consists  of  four 
points  gules,  enclosing  three  fleurs-de-lys,  or.  The  gules  and  the  or  have 
been  scraped  away,  but  could  easily  be  restored.  The  shield  is  set  in  a fluted 
shell,  glazed  in  spotted  violet,  perhaps  Luca’s  first  attempt  to  imitate  por- 


Fig.  106.  Stemma  of  Jacopo  dei  Pazzi. 


phyry.  A similar  imitation  of  porphyry  occurs  in  the  cupola  of  the  porch 
of  the  Pazzi  Chapel. 

The  frame  exhibits  a broad  band  of  fruit  and  leaves  set  between  egg 
and  dart  mouldings.  Flowers  are  seen  in  one  section  only.  It  was  baked  in 
eight  divisions,  the  joints  of  which  are  practically  concealed  by  ribbons 
which  cross  the  entire  frame.  These  divisions  are  equal  in  size,  and  each 
contains  one  kind  of  fruit.  Grapes,  oranges,  pine  cones,  apples,  and  then 
grapes,  cucumbers,  pine  cones,  apples  succeed  each  other,  moving  in  the 
direction  of  the  hands  of  a clock.  The  darker  fruits  alternate  with  the 


LUCA  DELLA  ROBBIA 


163 


lighter  ones  in  rhythmic  sequence.  In  composition  and  modelling-  this 
garland  may  be  classed  with  the  fruit  frieze  at  Impruneta  rather  than  with 
the  garlands  of  the  Mercanzia  or  of  the  Rene  d’Anjou  coat  of  arms. 

BIBLIOGRAPHY 

Ancisa,  CC,  685;  del  Badia,  Raccolta,  15;  Bode,  Kf.,  12;  J.  k.  p.  K.,  XXI  (1900),  12; 


Denkin.,  67-68;  FI.  Bildlu,  126;  FI.  Sc.,  87-88;  Burlamacchi,  46;  Caval- 
lucci  et  Molinier,  70,  215,  No.  57;  Cruttwell,  106-107,  3—4 ; Doering- 
Dachau,  21;  Fabriczy,  326-338;  Litta,  VII,  Tav.  7,  62;  Reymond,  D.  R.,  57- 
59;  Sc.  FI.,  II,  202-203;  Michel,  IV,  87,  Fig.  62;  Schubring,  66-67; 
Stegmann  und  Geymiiller,  I,  3-6,  66-67;  Venturi,  VI,  575-576;  Waters, 
191 ; Wills,  162-163;  174- 


46  STEMMA  OF  MADDALENA  DEI  SERRISTORI.  Florence, 
Palazzo  Serristori.  Diam.,  1.80  m.  Photos.,  Alinari,  No.  17041  ; 
Brogi,  No.  13278. 

This  medallion  (Fig.  107),  containing  the  arms  of  the  Serristori 
family  was  formerly  in  the  Palazzo  Quaratesi,  a companion  piece  to  the 
medallion  containing  the  Pazzi  arms.  It  served  as  a memorial  of  the 


Fig.  107.  Stemma  of  Maddalena  die  Sf.rkistori. 
marriage  in  1446  of  Maddalena  d’ Antonio  di  Salvestro  Serristori  and 
Jacopo  dei  Pazzi.  After  the  Pazzi  conspiracy  of  1478  Maddalena  went  to 
the  Franciscan  convent  of  Monticelli  and  died  there  in  1480.  The  Serristori 
arms  are  azure,  a fess  argent  between  three  estoiles  or.  Here  argent  is 


164 


LUCA  DELLA  ROBBIA 


indicated  by  a white,  and  or  by  a yellow  glaze.  The  label  of  Anjou,  consist- 
ing of  a label  of  four  points,  gules,  enclosing  three  fleur-de-lys,  or,  was 
perhaps  granted  in  1383,  when  Ser  Ristoro  di  Ser  Jacopo  di  Ser  Lippo 
Serristori,  then  Notary  to  the  Signoria,  drew  up  the  articles  of  peace 
between  the  Republic  and  Charles  III  of  Naples. 

The  escutcheon  is  set  against  a green  fluted  shell.  The  frame,  like  that 
of  its  companion,  is  divided  into  eight  sections,  marked  not  by  ribbons 
but  by  leaves  which  overlap  the  egg  and  dart  moulding.  The  polychro- 
matic garland,  consisting  of  grapes,  citrons,  pine  cones,  apples,  zucche 
and  oranges,  is  arranged  in  a direction  the  reverse  of  that  of  the  Pazzi 
medallion.  The  fruit  is  composed  in  irregular  bunches  bound  together  at 
unequal  intervals. 

BIBLIOGRAPHY 

See  Bibliography  under  No.  45. 


47  THE  HEILBRONNER  FAITH.  Paris,  Galeries  Heilbronner. 

Diam.,  1.65  m.  Photo.,  Heilbronner. 

This  medallion  (Fig.  108)  is  one  of  a series  which  also  included  the 
Heilbronner  Prudence  and  the  Cluny  Temperance.  Its  exact  provenance  is 
not  stated,  except  that  it  came  from  Florence.  It  represents  Faith  holding  a 
chalice  and  a cross,  which  in  form  is  like  that  used  by  Andrea  Pisano  for  the 
same  virtue  on  the  Baptistery  Gates.  It  may  be  observed  that  this  type  of 
cross  occurs  also  in  the  Pazzi  coat  of  arms.  The  general  form  of  the  fig- 
ure, and  its  individual  features,  are  of  the  same  high  quality  as  those  of  its 
companion  pieces,  and  the  drapery  with  its  simple  folds  follows  more  closely 
Fuca’s  customary  manner.  The  garland  composed  of  grapes,  lemons,  pine 
cones  and  quinces,  is  arranged  in  quadrants  alternately  dark  and  light,  and  is 
subdivided  into  nineteen  bunches  by  means  of  a fluted  ribbon  spirally  bind- 
ing the  fruit  together.  The  spiral  fluted  ribbon  Fuca  may  be  said  to  have 
borrowed  from  Ghiberti,  while  differing  from  him  in  the  free  and  uncon- 
ventional composition  of  the  garland.  The  frame  is  distinguished  from 
those  of  the  Heilbronner  Prudence  and  Cluny  Temperance  in  having  a cord 
moulding  as  an  inner  boundary.  Hence  it  may  have  belonged  to  an  indepen- 
dent series  representing  the  three  theological  virtues.  In  which  case  we  may 
expect  some  day  to  recover  the  medallions  representing  Hope  and  Charity. 


LUCA  DELLA  ROBBIA 


165 

It  is,  however,  equally  probable  that  this  medallion  held  a central  position 
in  some  decorative  scheme  analogous  to  that  of  the  ceiling  of  the  Portogallo 
Chapel,  that  associated  with  it  were  the  Heilbronner  Prudence  and  the 
Cluny  Temperance,  and  that  the  missing  medallions  of  Fortitude  and  Justice 
may  some  day  come  to  light.  It  may  be  noted  that  the  Cluny  Temperance  is 
said  to  have  come  from  a Pazzi  chapel  cr  palace  near  Florence  also  that 


Fig.  108.  The  Heilbronner  Faith. 

the  garlands  about  these  three  medallions  resemble  those  about  the  Pazzi 
and  Serristori  coats  of  arms.  I have  elsewhere  suggested  that  these  medal- 
lions may  have  been  originally  intended  for  the  Pazzi  Chapel  of  S.  Croce, 
and  that  either  the  series  was  never  completed,  or  never  put  in  place.  The 
medallions  are  apparently  of  the  proper  size  for  the  spandrels,  and  would 
harmonize  with  Luca's  Apostles  on  the  walls  of  the  chapel  better  than  the 
four  garish  Evangelists  which  now  complete  its  decoration  . 

BIBLIOGRAPHY 

Marquand,  A.  J.  A.,  XVI  (1912),  169-174. 


LUCA  DELLA  ROBBIA 


1 66 

48  THE  HEILBRONNER  PRUDENCE.  Paris,  Galeries  Heilbronner. 
Diam.,  1.65  m.  Photo.,  Heilbronner. 

This  Heilbronner  Prudence  (Fig.  109)  evidently  belongs  to  the  same 
series  as  the  Cluny  Temperance.  It  is  of  the  same  size,  has  a similar  frame 
with  a broad  fruit  garland  enclosed  within  mouldings  of  identical  pattern, 
so  far  even  as  to  present  exactly  the  same  number  of  eggs  and  darts.  The 
figure  has  a fine  head  of  similar  type,  eyes  with  light  yellow  irises  and  blue 
stippled  brows,  beautiful  ears  and  hands,  and  a garment  with  similar 


Fig.  109.  The  Heilbronner  Prudence. 


shoulder  cape  and  complex  folds.  The  light-blue  background  is  similarly 
divided,  was  also  covered  with  golden  rays  now  almost  obliterated  and  has 
white  and  dark  blue  clouds  at  the  base.  As  compared  with  the  Prudence  of 
the  Portogallo  Chapel  she  has  a similar  bearded  mask  at  the  back  of  her 
head,  carries  a mirror  of  like  form,  also  a green  snake  spotted  with  yellow 


LUCA  DELLA  ROBBIA  ifry 

and  black,  but  is  posed  in  the  reverse  direction,  is  wingless,  and  more 
aristocratic. 

The  frame,  like  that  of  the  Cluny  Temperance,  was  baked  in  eight 
sections,  marked  by  blue  cross  bands  which  unite  the  bunches  of  fruit 
together.  The  fruit  here  consists  of  grapes,  quinces,  citrons,  pine  cones, 
oranges  and  zucclic,  modelled  and  coloured  with  the  same  love  of  nature 
as  Luca  showed  in  his  floral  garlands. 

Like  the  Cluny  Temperance  this  medallion  was  probably  designed 
to  decorate  some  Pazzi  chapel,  and  to  proclaim  the  Pazzi  virtues  to  the 
world. 


BIBLIOGRAPHY 

Marquand,  A.  J.  A.,  XVI  (1912),  169-174. 


49  THE  CLUNY  TEMPERANCE.  Paris,  Musee  de  Cluny.  Diam., 
1.65  m.  Photos.,  J.  Leroy,  No.  968;  Alinari,  No.  25224. 

The  Cluny  Temperance  (Fig.  110)  is  said  once  to  have  decorated  a 
Pazzi  chapel,  or  palace,  near  Florence,  possibly  the  Panciatichi  Ximemes 
Villa  near  Fiesole.  It  is  unfortunate  that  we  have  no  more  explicit  informa- 
tion concerning  its  provenance.  It  belongs  to  a series  of  virtues  without 
wings,  of  which  Prudence  and  Faith  are  now  in  the  Heilbronner  Galleries, 
Paris. 

As  in  the  Portogallo  Chapel,  Temperance  is  represented  as  pouring, 
in  this  case  from  a pitcher  into  a goblet.  Streams  of  golden  light  radiate  in 
all  directions  against  a pale  blue  sky  as  she  emerges  from  white  and  black 
clouds.  Here  the  sculptor  has  modelled  with  unusual  care  the  details  of 
her  head,  hands,  and  drapery.  Her  hair  is  less  summary  than  that  of 
the  Portogallo  maiden.  Pier  downcast  eyes  have  similar  yellow  irises, 
and  dark  brows  and  puipls.  Her  forehead,  nose,  mouth  and  chin  are  those 
of  the  refined  lady,  such  as  we  look  for  in  the  more  conventional  work  of 
Andrea  della  Robbia,  Antonio  Rossellino,  or  Mino  da  Fiesole.  Her  drapery 
reproduces  details  that  Luca  loved  to  represent,  but  nowhere  with  more 
elegance  and  grace.  In  this  medallion,  the  product  of  his  later  years,  Luca 
shows  that  in  the  development  of  the  human  figure  and  treatment  of  dra- 
pery he  could  abandon  strict  simplicity  and  achieve  the  refined  complexity 


LUCA  DELLA  ROBBIA 


1 68 


Fig.  iio.  The  Cluny  Temperance. 

demanded  by  the  art  patrons  of  the  day.  This  medallion,  or  the  woman 
who  served  as  its  model,  seems  to  have  inspired  Mino  da  Fiesole  in  designing 
the  Madonna  for  the  Salutati  altarpiece  in  the  Cathedral  at  Fiesole. 

The  frame  exhibits  grapes,  quinces,  pine  cones  and  oranges,  subdivided 
by  short  cross  bands  to  correspond  with  the  eight  actual  joints  of  the  frame. 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXI  (1900),  8,  note  1;  Denkm.,  64,  note  1;  FI.  Bildh.,  121,  note  1; 

FI.  Sc.,  83  note  1;  Burlamacchi,  84;  Cavallucci  et  Molinier,  63-64,  272,  No. 
420;  Cruttwell,  100-102,  324;  de  Foville,  63;  Marquand,  A.  J.  A.,  XVI 
(1912),  169-174;  Reymond,  D.  R.,  49-50;  Sc.  FI.,  II,  198-199;  du  Som- 
merard,  Cat.,  No.  2794;  Venturi,  VI,  575. 


50  THE  CLUNY  JUSTICE.  Paris,  Musee  de  Cluny.  Diam.,  1.70  m. 
Photos.,  Leroy,  No.  218;  Alinari,  No.  25223. 

The  Cluny  Justice  holds  a sword  in  one  hand,  a globe  in  the  other 
(Fig.  111).  She  is  more  stately  and  dignified  than  the  Justice  of  the  Porto- 
gallo  Chapel,  and  as  a composition  for  a medallion  more  satisfactory. 


LUCA  DELLA  ROBBIA 


169 


Some  details,  like  the  fillet  and  triangular  coronal,  the  ruffle  about  the 
neck  and  the  carefully  knotted  girdle,  remind  us  of  Luca’s  work  of  the 
decade  1440-1450.  But  the  light-coloured  background  shading  into  a darker 
blue,  and  the  clouds  scattered  over  nearly  the  entire  surface  betray  a 
later  period.  The  broad  frame  of  fruit  and  flowers  divided  into  eight  sec- 
tions by  transverse  ribbons  remind  us  of  the  frame  of  Jacopo  dei  Pazzi’s 
coat  of  arms.  The  eyes  of  Justice  have  yellow  irises  and  dark  blue  brows, 
lashes,  and  pupils.  According  to  the  catalogue  of  the  Cluny  Museum  this 


Fig.  hi.  The  Cluny  Justice. 

medallion  was  made  for  the  Pazzi  Chapel,  and  later  decorated  a Pazzi 
palace  near  Florence.  That  it  may  once  have  decorated  or  have  been 
designed  for  some  Pazzi  chapel  seems  likely  enough,  or  it  may  have  served 
as  the  presiding  genius  of  some  hall  of  justice — possibly  the  Cancelleria. 
It  certainly  did  not  belong  to  the  same  series  as  the  Heilbronner  medallions 
and  the  Cluny  Temperance,  but  may  have  been  in  another  series  of  medal- 
lions of  greater  diameter,  of  lighter  backgrounds,  filled  with  winged,  not 
wingless,  virtues. 

BIBLIOGRAPHY 

See  Bibliography  under  Xo.  49. 


! JQ  LUCA  DELLA  ROBBIA 

51  the  FOULC  ADORATION.  Paris,  Collection  Edmond  Foulc. 
Diam.,  1.69  m.  Photo.,  A.  M. 

The  Foulc  Adoration  (Fig.  112),  purchased  from  Bardini,  is  said  to 
have  come  from  the  Palazzo  Alberti,  Florence;  the  frame  which  does  not 
fit  the  relief,  came,  as  M.  Foulc  told  me  many  years  ago,  from  another 
source,  and  had  originally  no  connection  with  the  relief.  The  frame  is 


Fig.  1 12.  The  Foulc  Adoration. 

composed  in  an  unusual  manner,  having  a variety  of  fruits  in  each  bunch, 
and  seems  to  be  the  handiwork  of  Andrea  della  Robbia,  before  he  had 
entirely  freed  himself  from  the  influence  of  his  uncle.  Guided  chiefly  by 
the  frame  Marcel  Reymond  classes  the  entire  medallion  as  a late  work 


LUCA  DELLA  ROBBIA 


I/I 


from  Andrea’s  atelier,  and  thus  fails  to  appreciate  one  of  the  most  accom- 
plished and  beautiful  of  Luca's  creations.  The  background  of  the  relief 
is  a blue,  concave  disk,  such  as  Luca  had  employed  in  the  wall  medallions 
of  the  Pazzi,  and  in  the  ceiling  medallions  of  the  Portogallo  chapels.  The 
Madonna  is  turned  to  the  right,  in  a very  stately  pose,  with  hands  folded 
in  adoration.  She  wears  no  nimbus,  but  is  a beautiful,  human  mother  rever- 
entially regarding  the  sacred  Child.  The  features  of  her  face,  her  curling 
hair,  her  gray-blue  eyes,  her  exquisite  hands,  and  the  simple  folds  of  the 
drapery  indicate  the  work  of  Luca  himself.  Her  type  is  analogous  to 
that  of  the  Heilbronner  Faith.  From  her  body  in  every  direction  radiate 
streams  of  golden  light.  Her  hair,  the  border  of  her  mantle,  and  various 
other  details  are  also  gilded.  Before  her  is  the  nude  Child  raising  his  right 
hand  in  blessing,  reclining  comfortably  on  a bed  of  sea-green  hay.  His  pro- 
portions are  no  longer  those  of  the  large-headed  Child  in  the  S.  Pierino 
lunette,  or  of  the  long-limbed  Child  of  the  bronze  sacristy  doors,  but  nearer 
to  those  of  the  Child  on  the  Impruneta  frieze. 

The  four  angels  in  the  background,  in  the  midst  of  white  and  blue 
clouds,  carry  with  them  a scroll  inscribed  in  Gothic  letters  Gloria  in  cx- 
cclsis  Deo,  the  anthem  sung  by  the  heavenly  host  after  their  annunciation 
to  the  shepherds  (S.  Luke.  II,  14).  Here  the  angels  echo  the  Madonna's 
adoration  of  the  Child.  In  type  they  recall  the  angel  of  S.  Matteo  on  the 
wall  of  the  Pazzi  Chapel,  and  the  group  of  angels  on  the  Impruneta  predella. 
In  the  general  composition  they  are  given  much  less  space  than  is  occupied 
by  the  angels  in  Luca’s  earlier  works. 

BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  XXI  (1900),  23,  Denkm.,  74,  Taf.  231;  FI.  Bildh.,  144,  Abb.  77;  FI.  Sc.. 

102,  PI.  46;  Burlamacchi,  86;  Cruttwell,  351;  Marquand,  A.  J.  A.,  IX 
(1894),  24,  PI.  9;  Michel,  IV,  85;  Migeon,  Lcs  Arts,  1902,  Mai,  1,  6-7; 
Reymond,  D.  R.,  159-160;  Schubring,  87,  Abb.  96;  Venturi,  VI,  575;  La 
Madonna,  34;  Waters,  192. 


/ 


\ 


CHAPTER  IV 


CHAPTER  IV 


1460-1470 

52  CEILING  OF  THE  PORTOGALLO  CHAPEL.  Florence,  S. 
Miniato  al  Monte,  Cappella  di  S.  Jacopo.  1461-1466.  Five  Medal- 
lions, each  2 m.  in  diam.  Photos.,  Alinari,  Nos.  3378-3381  ; Brogi, 
Nos.  5390-5394- 

The  Cappella  di  S.  Jacopo  at  S.  Miniato  was  erected  in  1461-1466  in 
honour  of  Jacopo  da  Portogallo,  son  of  the  Infante  Pedro,  and  a grandson 
of  Juan  I of  Portugal.  His  mother  was  Isabella,  daughter  of  Count  Urgel, 
and  a descendant  of  the  royal  house  of  Aragon.  He  was  made  cardinal 
deacon  of  S.  Maria  in  Porticu  September  18,  1456,  sent  by  Pope  Pius  II 
as  legate  to  Germany,  and  died  in  Florence,  August  27,  1459,  in  the 
twenty-sixth  year  of  his  age.  He  was  noted  for  beauty  and  virtue.  His 
epitaph  reads : 

Regia  stirps,  Jacobus  nomen,  Lusitania  propago, 

Insignis  forma,  summa  pudicitia, 

Cardineus  titulus,  morum  nitor,  optima  vita, 

Ista  fuere  mihi ; mors  juvenem  rapuit. 

Ne  se  pollueret  maluit  iste  mori. 

Vixit  a.  XXV.  m.  XI.  d.  X.  obit  an.  Sal.  MCCCCLIX. 

This  chapel  was  adorned  with  a beautiful  pavement,  a notable  tomb  by 
Antonio  Rossellino,  an  altarpiece  by  Piero  Pollaiuolo,  frescoes  by  Baldovi- 
netti.  and  a ceiling  by  Luca  della  Robbia.  It  was  begun  in  1461  and  opened 
in  1466.  The  frescoes  were  added  between  1466  and  1473. 

It  bad  been  customary  in  Italy  to  decorate  sepulchral  monuments  of 
important  personages  with  figures  of  virtues,  on  the  principle  of  nihil 
nisi  bo  nil  in  de  mortuis.  Rossellino  abandoned  this  decoration  in  design- 
ing the  marble  tomb  in  a recess  of  the  east  wall,  so  Luca  della  Robbia  was 
free  to  use  it  for  the  ceiling.  These  beautiful  virtues  are  more  than  usually 
appropriate  in  the  case  of  this  young  cardinal. 

The  ceiling  is  slightly  domical,  of  the  form  known  as  cnl-de-four.  In 
the  centre  is  the  medallion  of  the  Holy  Spirit.  Towards  the  four  angles 
and  tangent  to  it  are  medallions  representing  the  four  cardinal  virtues 


1 75 


176 


LUCA  DELLA  ROBBIA 


(Fig.  1 13).  They  are  arranged  apparently  by  mere  chance,  in  pairs  so  that 
Prudence  and  Justice  face  each  other,  as  do  Fortitude  and  Temperance. 
The  interspace  is  filled  with  tiles,  rectangular  for  the  most  part,  on  which  is 
painted  a diapered  pattern  of  cubes,  the  visible  sides  being  green,  yellow, 
and  dark  violet.  The  effect  intended,  that  of  a mosaic,  would  have  been 


Fig.  1 13.  Ceiling  of  the  Portogallo  Chapel. 

more  successful  had  smaller  units  been  employed,  as  the  tiles,  on  some  of 
which  as  many  as  a dozen  cubes  are  represented,  have  separated  and  dis- 
play but  too  clearly  the  economical  method  of  construction.  Each  of  the 
medallions  has  a frame,  which  between  architectural  mouldings  displays 
a flat  frieze  adorned  with  concentric  rows  of  blue  scales.  These  rows  of 
scales  are  darker  in  colour  as  they  approach  the  periphery.  The  medal- 
lions are  slightly  concave. 


LUCA  DELLA  ROBBIA  lyy 

(i).  Medallion  of  the  Holy  Spirit.  Photos.,  Brogi,  No.  5390; 
Burton  & Co. 

The  background  of  this  medallion  consists  of  concentric  bands  of  blue 
growing  darker  toward  the  periphery,  recalling  the  medallions  of  the  major 
Apostles  in  the  Pazzi  Chapel  (Fig.  114).  The  candlesticks,  the  details  of 


Fig.  1 14.  The  Portogallo  Holy  Spirit. 

which  are  interestingly  varied,  are  glazed  yellow  for  gold.  The  Dove 
is  very  sympathetically  and  charmingly  designed.  From  him  emanates 
unusual  radiancy,  with  golden  rays  schematically  arranged. 

(2).  Medallion  of  Prudence.  Photos.,  Alinari,  No.  3378;  Brogi, 

5393- 

Prudence  exhibits,  in  accord  with  the  mediaeval  canons,  a young 
female  face  locking  forward,  and  an  aged,  bearded  face  looking  backward 


1 78 


LUCA  DELLA  ROBBIA 


(Fig-.  1 15).  Her  symbols  are  a mirror,  emblem  of  reflection,  and  a serpent 
for  wisdom.  The  serpent,  designed  with  fine  sinuous  folds,  is  glazed  green 
with  violet  spots  upon  his  back  and  yellow  ones  below.  The  gilding  on 
the  hair,  wings,  and  garment  appears  to  have  been  restored.  Another 
interesting  Prudence  by  Luca  della  Robbia  is  in  the  Heilbronner  Galleries, 
Paris  (see  No.  48) - 


Fig.  1 1 5.  The  Portogallo  Prudence.  Fig.  116.  The  Portogallo  Justice. 

(3).  Medallion  of  Justice.  Photos.,  Alinari,  No.  3379;  Brogi, 
No.  5394. 

Justice  (Fig.  116)  holds  a sword  and  a globe.  Her  drapery,  fluttering 
in  the  breeze,  is  somewhat  elaborate  in  the  modelling  of  its  folds.  The 
renovated  gilding  on  hair,  wings,  and  garment  is  disturbing.  In  type  it 
seems  slightly  later  than  the  Justice  in  the  Cluny  Museum. 


(4).  Medallion  of  Fortitude.  Photos.,  Alinari.,  No.  3381 ; Brogi, 
No.  5392. 

Fortitude  (Fig.  117)  brandishes  a mace  and  holds  a shield  bearing  a 
coat  of  arms.  Beneath  a flowing  mantle  she  wears  a light,  close-fitting 
decorated  corselet.  She  has  gray-blue  irises,  dark  pupils,  and  blue  eye- 
brows. This  is  noteworthy,  as  the  other  virtues  in  this  chapel  have  yellow 


LUCA  DELLA  ROBBIA 


179 


irises  and  violet  eyebrows.  The  coat  of  arms  displays  the  Portuguese 
insignia  of  the  young  cardinal:  a field  argent  (white)  charged  with  a cross 
of  five  small  shields  azure,  each  charged  with  five  plates  argent,  with  an 
individual  bordure  charged  with  castles,  or,  and  fleur-de-lys,  vert.  This  is 
quartered  with  four  pales  gules  (violet)  on  a field  or,  the  arms  of  the 
house  of  Aragon.  Other  stemini,  twenty-six  in  all,  painted  on  the  frieze 


Fig.  117.  The  Portogallo  Fortitude. 


of  the  Chapel,  show  the  arms  of  Portugal,  Aragon,  Castile,  Leon,  etc.,  and 
indicate  the  lineage  of  the  young  Cardinal.  His  own  coat  of  arms  again 
appears  over  the  entrance  to  the  Chapel. 


(5).  Medallion  of  Temperance.  Photos.,  Alinari,  No.  3380;  Brogi, 
No.  5391. 

Temperance  (Fig.  118)  is  represented  as  pouring  with  watchful  care 
from  a decanter  into  a goblet.  The  design  and  modelling  resemble  so  closely 
those  of  the  other  virtues  as  to  make  it  seem  strange  that  Dr.  Bode  or 
Miss  Cruttwell  should  have  seen  in  this  relief  evidences  of  Andrea's  handi- 
work. By  this  date  Andrea  may  well  have  assisted  his  uncle,  hut  it  is 
clear  that  he  had  no  controlling  part  in  the  formation  of  this  beautiful 
figure,  which  resembles  closely  the  angels  on  the  predella  of  the  Tabernacle 
of  the  Holy  Cross  at  Impruneta  or  the  most  beautiful  of  the  angels  on  the 


i8o 


LUCA  DELLA  ROBBIA 


bronze  sacristy  doors.  At  least  once  again  did  Luca  represent  the  virtue 
of  Temperance:  in  the  stately  medallion  now  in  the  Cluny  Museum. 

Before  leaving  these  medallions  attention  may  be  called  to  the  many 
small  fragments  which  compose  the  frame,  possibly  so  as  to  conform  it 


Fig.  118.  The  Portogallo  Temperance. 

more  easily  to  the  curved  surface  of  the  vault ; to  the  lack  of  relation  in  the 
jointing  of  the  various  zones  of  the  frames;  and  to  the  evident  care  to 
avoid  the  exhibition  of  joints  in  the  immediate  vicinity  of  the  figures. 


XVI  cent., 

XVII  cent., 
XIX  cent., 


XX  cent., 


BIBLIOGRAPHY 

Albertini,  17;  Frey,  Anonimo  d.  Ood.  Magi.,  80;  Vasari,  II,  175: 

Ciaconius,  II,  990; 

Baldinucci,  V,  219;  Barbet  de  Jouy,  57;  Berti,  70-75;  Bisticci,  I,  145-150; 
Bode,  Kf.,  12,  23;  A.  S.  A.,  II  (1889),  4;  It.  Bildh.  Ren.  82;  Cavallucci  et 
Molinier,  60-63,  251;  No.  293;  De  Laborde,  Pis.  10,  11;  Frey,  312;  Rey- 
mond,  D.  R.,  47-49;  Sc.  FI.,  II,  197-198; 

Bode,  J.  k.  p.  K.,  XXI  (1900),  8;  Denkm.,  63,  Taf.  236-237;  FI.  Bildh., 
120-121 ; FI.  Sc.,  82-83;  It.  PI.  85;  Burckhardt,  428;  Burger,  159;  Burla- 
macchi,  30,  37-38,  1 1 7 ; Cruttwell,  97-99,  323;  Doering-Dachau,  20,  Abb.  25; 
de  Foville,  62-65;  Giglioli,  Riv.  d’Arte,  IV  (igo6),  89-99;  Melani, 
A.  I.  D.  I.,  IX  (1900),  62-63;  Michel,  IV,  86-87;  Fig.  61;  Schubring,  64, 
Abb.  61-62;  Venturi,  VI,  575. 


53  STEMMA  OF  THE  MERCANZIA.  Florence,  Or  San  Michele. 
1463.  Diam.,  1.80.  Photo.,  Alinari,  No.  3443. 


On  the  exterior  of  Or  San  Michele,  facing  the  Via  Calzaiuoli,  above 
the  tabernacle  containing  Verrocchio’s  group  of  Christ  and  the  doubting 


LUCA  DELLA  ROBBIA 


iSl 

Thomas,  is  a very  beautiful  coat  of  arms,  representing  the  Florentine  lily 
above  a bale  of  merchandize,  set  in  an  exquisite  wreath  of  fruit  and  flowers. 
On  this  side  of  Or  San  Michele  was  formerly  displayed  the  arms  of  the 
Parte  Guelfa  and,  in  a tabernacle,  a statue  of  their  patron  S.  Ludovico. 
In  1459  the  Parte  Guelfa  was  obliged  to  submit  to  the  popolani,  and  their 


Fig.  i 19.  Stemma  of  the  Mercanzia. 


rights  at  Or  San  Michele  were  ceded  to  the  Mercanzia.  The  Mercanzia  or 
Universita  was  at  once  a Supreme  Court  and  a Chamber  of  Commerce. 
It  was  composed  of  six  senior  judges  from  the  Arte  dei  Giudici  e Notai, 
presided  over  by  a foreign  jurisconsult  or  doctor  of  laws.  In  January  or 
February,  1462  (modern  reckoning,  1463)  the  six  judges  commissioned 


LUCA  DELLA  ROBBIA 


Luca  della  Robbia  to  make  for  them  a stemma,  to  be  set  on  the  front  of 
the  Oratorio  di  S.  Anna,  opposite  the  Oratorio  di  S.  Michele  in  Orto. 
These  names  are  now  misleading,  for  the  Oratorio  di  S.  Anna  has  become 
a chapel  or  altar  in  the  building  known  as  Or  San  Michele,  and  the  building 
then  known  as  S.  Michele  in  Orto  has  since  1616  borne  the  name  S.  Carlo. 
But  the  document  puts  the  authorship  of  the  medallion  and  its  date  beyond 
dispute. 

The  stone  frame  which  surrounds  the  medallion  appears  to  have  been 
almost  entirely  renovated,  and  it  may  be  noted  that  the  terra-cotta  does 
not  touch  the  dentils  of  the  frame,  as  in  the  other  medallions  which  Luca 
made  for  Or  San  Michele. 

The  terra-cotta  frame  was  made  in  eight  sections,  and  is  bounded  by 
two  narrow  listels  and,  on  its  inner  side,  also  by  a leaf  and  dart  moulding 
glazed  white.  On  this  is  a finely  modelled,  polychromatic  wreath  of  fruit 
and  flowers,  consisting  of  sixteen  bouquets  fastened  by  blue  cords.  On  the 
upper  half  the  motion  is  from  left  to  right,  on  the  lower  half  from  right  to 
left,  like  the  motion  of  the  hands  of  a clock.  Beginning  at  the  base  toward 
the  left  we  distinguish  citrons,  beans,  pomegranates,  chestnuts,  followed  by 
apples  or  quinces,  thistles  or  artichokes,  zucche  or  cucumbers,  pine  cones, 
quinces,  plums,  grapes,  poppies,  oranges,  figs,  pears,  and  olives.  In  most 
cases  characteristic  leaves  are  found  with  the  fruit,  and  white  and  violet-red 
flowers  are  freely  interspersed.  In  colouring  the  leaves  Luca  relieves  their 
flatness  by  superposing  different  shades,  light  green  or  yellow  on  green 
of  a darker  hue.  The  colours  are  not  always  strictly  naturalistic,  but  the. 
general  effect  of  the  entire  wreath  is  at  once  decorative  and  closely  related 
to  nature.  It  is  a free  translation  in  polychromatic,  glazed  terra-cotta  of  the 
more  conventional  fruit  and  foliage  ornament  with  which  Ghiberti  had 
decorated  his  bronze  gates. 

Within  this  frame  is  a blue,  fluted  shell  the  arrises  of  which  are  grooved. 
Upon  this  as  a background  is  a shield  argent , on  which  is  displayed  a beau- 
tifully designed  Florentine  seeded  fleur-de-lys  gules  (violet-red)  above 
a corded  bale  argent,  the  arms  of  the  Mercanzia.  This  coat  of  arms  em- 
phasizes the  supremacy  of  the  mercantile  class  in  Florence,  since  it  combines 
the  Florentine  fleur-de-lys  not  with  the  three  stars  of  the  Arte  dei  Giudici 
e Notai  to  which  the  supreme  court  judges  belonged,  but  with  the  corded 
bale  of  the  Arte  e Universita  dei  Mercanti  di  Calimala. 


LUCA  DELLA  ROBBIA 


183 


DOCUMENT 

[Quoted  from  A.  J.  A VIII  (1893),  154.] 

28  di  Sett.  1463.  Luce  Marci  della  Robia  intagliatore  F.  25  a sold. 
88  et  den.  5 per  fiorino  pro  parte  solutionis  et  mercedis  operis  per  eum 
facte  de  signo  et  anna  et  circa  signum  et  arma  dicte  Universitatis  per 
eum  applicandum  in  circulo  posito  in  facie  Oratorii  S.  Anne  site  in  Platea 
Orti  S.  Michaelis  civitatis  Florentie  supra  pilastrum  dicte  Universitatis 
positum  in  dicta  facie  contra  Oratorium  S.  Michaelis  in  orto  secundum 
ordinationem  et  commissionem  operariorum  ordinatorum  et  deputatorum 
de  mense  Januarii  seu  Februarii  1462  (modern  reckoning,  1463)  per  tunc 
officium  sex  Consiliariorum  dicte  Universitatis  pro  ornando  et  decorando 
dicto  pilastro  £110  sol.  10  d.  5 piccioli. 

Archivio  di  Stato  di  Firenze.  Libro  dclle  Deliberazioni.  Stanziamenti 
dci  Sei  Consiglieri  della  Mercanzia,  c.  254. 

BIBLIOGRAPHY 

XVI  cent.,  Vasari,  II,  176; 

XVIII  cent.,  Richa,  I,  15-23; 

XIX  cent.,  Baldinucci,  222;  Barbet  de  Jouy,  59;  Carocci,  A.  I.  D.  /.,  V (1896), 

Tav.  20;  Cavallucci  et  Molinier,  67;  Franceschini,  89,  note  2;  Marquand, 
A.  J.  A .,  VIII  (1893),  154-156  (Doc.);  PI.  IV;  Reymond,  D.  R.,  55-57; 
Sc.  FI.,  II,  201-202;  Scaife,  162; 

XX  cent.,  Bode,  J.  k.  p.  K.,  XXI  (1900),  11;  FI.  Bildh.,  124,  fig.  69/  FI.  Sc.,  85,  PI.  40; 

Burckhardt,  429;  Burlamacchi,  44-45,  100  (Doc.),  108;  Cocchi,  70-76, 
225-244;  Cruttwell,  104,  303  (Doc.),  323;  Doering-Dachau,  20;  Michel,  IV, 
87;  Sachs,  28;  Schubring,  68,  Abb.  65;  Staley,  32,  84-87;  Venturi,  VI,  575. 


54  TEN  PANELS  FOR  THE  BRONZE  DOORS.  Florence,  Duomo. 
1464-1469.  The  doors  measure  4.10  m.  x 2 m.,  the  panels,  0.53  m. 
x 0.53  m.  Photos.,  Alinari,  Nos.  1980,  3510-3519;  Brogi,  Nos. 
4921-4931. 

Many  documents  refer  to  the  bronze  doors  of  the  north  sacristy  of 
the  Cathedral  of  Florence.  In  1437  the  Operai  decided  to  entrust  first  the 
doors  for  one  sacristy,  then  for  both  sacristies  to  Donatello,  and  to  pay 
him  one  thousand  nine  hundred  florins  for  the  two  pairs  of  doors.  After 
waiting  nearly  nine  years  for  Donatello,  on  December  24,  1445,  they  en- 
gaged a committee  of  three,  Michelozzo  di  Bartolommeo,  Luca  della  Robbia, 
and  Maso  di  Bartolommeo  to  make  one  pair  of  doors.  On  February  28, 
1446,  having  received  the  model,  they  entered  into  contract  that  the  work 
should  be  completed  in  three  years,  under  penalty  of  one  thousand  florins. 
The  three  sculptors  were  to  receive  for  the  completed  work  one  thousand 
one  hundred  florins. 


i84 


LUCA  DELLA  ROBBIA 


This  contract  enters  into  specific  details.  The  panels  of  the  doors 
were  to  have  double  frames,  separated  by  platbands  decorated  with  gold  or 
silver  damascene  ornament,  and  at  the  corners  of  the  panels  were  to  be 
heads  of  prophets,  twelve  on  each  wing.  The  ten  panels  were  each  to  con- 
tain three  figures  and  a tabernacle  in  relief  decorated  with  damascene 
ornament.  The  tabernacles  were  to  shelter  figures  of  the  Madonna  and 
Child,  S.  Giovanni  Battista,  the  four  Evangelists,  and  the  four  Doctors 
of  the  Church.  The  backs  of  the  doors  were  to  exhibit  a similar  distribu- 
tion of  panels  and  cornices,  but  without  figures  or  other  ornament.  One 
year  later,  that  is  by  February  28,  1447,  some  part  of  the  doors  appears 
to  have  been  cast,  and  Michelozzo  was  permitted  to  use  the  surplus  bronze 
for  a graticola  for  the  altar  of  S.  Stefano.  At  the  end  of  1451,  and  early 
in  1452,  payments  were  still  being  made  apparently  for  the  framework  of 
the  doors.  Maso  died  in  the  year  1457  (Yriarte,  p.  10),  but  not  until 
April  9,  1461,  was  his  place  filled.  His  brother,  Giovanni  di  Bartolommeo, 
sculptor,  was  then  commissioned  to  clean  the  framework  of  the  two  wings 
already  cast,  to  put  the  wings  together  and  to  restore  whatever  was  lacking- 
in  the  frame.  He  was  allowed  sixteen  to  twenty  months  in  which  to  com- 
plete this  work  and  was  paid  for  it  two  hundred  florins.  On  the  17th 
of  December,  1463,  his  work  was  accepted  and  pronounced  well  done. 

Eighteen  years  had  passed  since  the  contract  was  signed;  the  frame- 
work was  apparently  complete  and  satisfactory,  but  was  set  aside  containing 
nothing  in  its  panels  ( poste  de  lato  et  dentro  non  si  fa  nulla).  On  the 
1 6th  of  May,  1464,  Michelozzo  left  Florence  for  Ragusa,  and  the  Operai 
took  advantage  of  his  absence  to  make  a new  contract,  this  time  with  Luca 
alone,  to  finish  the  subjects  to  be  portrayed  ( finire  ct  conpiere,  also  a fare 
conpiere  ct  storiare ) upon  the  doors.  On  November  4,  1467,  Verrocchio 
received  a payment  for  having  furnished  to  Luca  and  Michelozzo  bronze 
for  the  last  two  panels  of  the  sacristy  doors.  Michelozzo's  name  thus 
reappears,  but  the  documents  of  June  30,  1468,  and  of  July  27,  1469. 
and  one  cited  by  Milanesi  as  of  July  27,  1474  (1469?)  show  payments 
made  to  Luca  alone. 

These  doors  today  are  standing  before  the  north  sacristy  of  the  Cathe- 
dral (Fig.  120)  having  been  executed  very  nearly  according  to  the  terms 
of  the  contract.  The  dull  bronze,  in  the  dim  light  of  the  Cathedral,  pro- 
duces together  with  the  uniform  compositions,  an  impression  of  monotony 


Fig.  120.  The  Bronze  Doors. 


i86 


LUCA  DELLA  ROBBIA 


— but  this  would  have  been  greatly  relieved  had  the  principal  figures  been 
set  in  ornamental  tabernacles,  as  the  contract  demanded.  The  damascened 
ornament  upon  the  platbands  of  the  framework  would  also  have  added 
charm.  Unfortunately  this  also  was  never  executed,  or  has  all  been 
cleaned  away  with  the  exception  of  a small  section  below  the  S.  Marco 
panel.  It  is  of  inlaid  silver,  showing  a series  of  squares  set  diagonally  and 
containing  quatrefoils  (Fig.  121). 

What  share  each  sculptor  had  in  the  execution  of  the  doors  is  not 
specified  in  the  contract.  Michelozzo  was  the  oldest  member  of  the  three 


sculptors  to  whom  it  was  entrusted.  Fie  had  been  Donatello's  associate, 
had  worked  with  Ghiberti,  was  in  high  esteem  with  the  Medici,  had  experi- 
ence in  bronze  casting,  and  already  had  received  various  commissions 
from  the  authorities  of  the  Cathedral.  It  is  easy  to  assume  that  the 
general  design  was  his,  but  this  would  be  difficult  to  prove,  as  neither  the 
composition  nor  the  individual  forms  bear  a strong  impress  of  his  style. 
Maso  di  Bartolommeo  and  his  brother  Giovanni  had  previously  been 
assistants  to  Michelozzo  and  to  Donatello,  but  Maso  was  also  an  inde- 
pendent sculptor,  since  L.  B.  Alberti  apparently  mentions  him  along  with 
Brunelleschi,  Donatello,  Ghiberti,  and  Luca  della  Robbia  as  one  of  the 
revivers  of  Tuscan  art.  That  Luca  was  responsible  for  the  design  of  the 
doors,  and  for  the  execution  of  almost  all  the  figured  decoration,  is  the 
conclusion  to  be  inferred  from  the  documents  as  well  as  from  a study  of 
the  work  itself. 

The  doors  are  made  up  of  two  parts:  the  framework  and  the  panels. 
The  framework,  as  we  have  seen,  was  in  part  cast  as  early  as  1447.  The 
damascene  ornament  may  have  been  executed  by  Giovanni  di  Bartolommeo 
in  the  sixteen  to  twenty  months  in  which  he  was  occupied  with  cleaning 
and  restoring  the  frame.  The  heads  of  the  prophets  we  have  already 
classed  with  Luca's  early  work.  The  panels  may  possibly  have  been 


Fig.  121.  Ornamental  detail. 


LUCA  DELLA  ROBBIA  iSy 

designed  at  the  same  time,  but  were  not  executed  until  after  1464,  when 
to  Luca  alone  was  entrusted  the  completion  of  the  doors. 

When  we  consider  the  composition  of  the  doors  the  question  may  be 
raised : do  the  panels  occupy  the  places  for  which  they  were  designed  ? 
The  Madonna  and  S.  Giovanni  Battista  are  properly  placed  according  to 
contract  in  the  top  row.  As  in  the  Cantoria,  the  eye  of  the  spectator  is 
carried  by  the  compositional  lines  from  left  to  right.  Below  them  is  a 
group  of  the  four  Evangelists.  These  form  a closed  group,  and  we  expect 
our  eye  to  be  led  from  left  to  right  along  the  upper  row  first  and  then  along 
the  lower.  S.  Giovanni  Evangelista  was  evidently  designed  for  the  position 
occupied,  but  the  S.  Matteo  seems  to  have  been  designed  as  a terminal  panel. 
In  its  present  position  it  breaks  the  group  of  Evangelists  in  two,  and  leaves 
11s  no  proper  terminal  panel.  It  should  be  placed  in  the  position  now  occu- 
pied by  S.  Marco.  The  order  S.  Giovanni,  S.  Luca,  S.  Marco,  S.  Matteo 
would  read  more  smoothly  and  form  a distinct  closed  group,  such  as  we 
might  expect  from  the  designer  of  the  Cantoria.  Similarly  the  Doctors 
are  designed  to  form  a closed  group,  but  are  placed  so  as  to  lead  the  eye 
in  unregulated  directions.  S.  Gregorio  seems  to  have  been  designed  for 
the  first  position,  to  be  followed  by  S.  Agostino ; the  third  Doctor  would 
then  be  S.  Ambrogio  and  the  last  S.  Girolamo.  It  may  be  observed,  how- 
ever, that  the  order  of  the  Evangelists  and  Doctors  as  placed  on  the  doors 
corresponds  to  that  on  Ghiberti’s  first  doors.  They  may  have  been  set  up 
in  their  present  order  for  some  practical  reason,  or  by  mistake  of  the  bronze 
caster,  as  Schmarsow  assumes  to  have  been  the  case  with  Ghiberti’s  doors 
(Schmarsow,  Ghibertis  Compositionsgcstzc)  or  it  may  be  that  in  spite  of 
the  composition  the  Operai  may  have  insisted  on  the  preservation  of  a 
traditional  order. 

Before  examining  the  sculptures  in  detail,  attention  may  be  called  to 
a startling  footnote  in  v.  Rumohr’s  Itolienische  F orschungen,  II,  372,  note*. 
He  seems  to  have  understood  the  contract  of  February  28,  1446,  to  call 
for  figured  sculpture  on  the  reverse  side  or  back  of  the  doors,  as  well  as  on 
the  front,  that  in  1461  Giovanni  di  Bartolommeo's  task  was  to  clean  and 
repair  the  front  side  of  the  doors,  including  the  sculptured  panels,  and  that 
in  1464  Luca  was  commissioned  to  complete  the  reverse  side  of  the  doors 
by  means  of  figured  sculpture.  The  remarkable  footnote  reads : “Da  der 
Guss  der  Vorseite  beendigt  war,  so  wire!  die  noch  zu  fodernde  Arbeit  noth- 


i88 


LUCA  DELLA  ROBBIA 


wendig  auf  die  Riickseite  zu  beziehen  seyn,  welche  in  dcr  that  einige  kost- 
lichc  Fignren  enthalt,  zvelche  dcm  Geschmacke  nnd  dcr  Kunst  unseres 
Luca  bey  weitem  mchr  entsprechen,  als  Arbciten  an  dcr  Vorseite.”  Von 
Rumohr’s  book  was  published  in  1827,  and  since  his  day  we  have  no  record 
of  these  sculptures.  The  reverse  side  of  the  doors  today  contain  no  sculp- 
tured panels  and  the  contract  distinctly  states  that  those  panels  should 
contain  no  figures  or  other  ornament,  so  we  must  assume  v.  Rumohr  had 
no  clear  recollection  of  the  facts  when  he  came  to  write  his  book. 

Document  No.  11  informs  us  that  as  late  as  August  10,  1464,  none 
of  the  panels  had  been  executed.  Luca  contracted  to  complete  them  in 
three  years:  the  same  length  of  time  required  for  the  completion  of  the 
doors  by  the  contract  of  1446.  The  panels  contain  central  figures  seated 
on  benches,  with  angels  standing  on  either  side.  As  the  Ascension  relief 
had  given  Luca  an  opportunity  of  designing  kneeling  figures,  so  here  he 
presents  to  us  ten  seated  and  twenty  standing  figures.  There  is  less 
variety  than  we  might  expect.  All  are  designed  in  studio  perspective,  the 
ground  of  the  highest  panels  and  that  of  the  lowest  having  the  same  down- 
ward slope.  The  benches  are  of  equal  height,  adorned  with  the  same 
mouldings  and  all  except  two  placed  almost  directly  en  face.  Most  of  the 
seated  figures  are  posed  with  knees  far  apart,  between  which  the  draperies 
fall  in  hanging  folds.  The  angels  are  varied  in  pose  and  action.  Marcel 
Reymond  attributes  the  four  Doctors  of  the  church  to  Michelozzo;  Ven- 
turi believes  that  Michelozzo  designed  them,  but  that  Luca  modified  them 
into  harmony  with  the  rest;  de  Foville  attributes  two  of  them  (S.  Gregorio 
and  S.  Girolamo)  to  Michelozzo.  On  the  other  hand  Miss  Cruttwell  con- 
siders the  four  Doctors  “the  grandest  and  most  characteristic  (of  Luca) 
of  the  whole  series.”  I find  all  the  panels  sufficiently  uniform  in  design  and 
style  to  be  attributed  to  Luca  himself. 

( 1 ) . The  Madonna  and  Child  and  two  Angels.  Photos.,  Alinari,  No. 

3510;  Brogi,  No.  4922. 

Michelozzo’s  lunette  over  the  entrance  to  the  church  of  S.  Agostino 
at  Montepulciano  contains  figures  of  the  Madonna  and  Child,  of  S.  Gio- 
vanni Battista,  and  of  S.  Agostino.  The  coarseness  with  which  they  are 
conceived  proves  that  he  could  not  have  modelled  the  panels  of  these  doors. 
The  Madonna  of  the  bronze  doors  is  seated  upon  a simple  bench  (Fig. 


LUCA  DELLA  ROBBIA 


189 


122),  which  reminds  us  of  the  bench  on  which  Tubal  Cain  of  the  Campanile 
reliefs  is  seated,  but  with  changed  proportions  and  mouldings  of  finer 
profile.  Similar  benches  occur  in  Luca’s  Madonna  on  Or  San  Michele,  in 
the  Madonna  of  the  Roses  in  the  Museo  Nazionaje,  and  in  the  altarpiece  at 
Pescia.  The  Madonna  wears  neither  halo,  turban,  nor  fillet,  and  her  hair, 
concealing  the  ears,  is  in  waves,  modelled  with  no  uncertain  touch.  There 
is  remarkable  simplicity  in  the  treatment  of  the  tunic  and  of  the  mantle. 


Fig.  122.  The  Madonna. 

I he  drapery  between  the  knees  is  more  complicated,  but  quite  free  from 
Ghiberti  s conventionalities.  1 he  Child  has  a smaller  head  than  we  find  in 
Luca  s early  Madonna's.  He  is  blessing,  with  one  hand,  and  in  the  other 
carries  a scroll,  which  was  doubtless  inscribed  ego  svm  lux  mvndi.  The 
angels  wear  no  coronals,  as  they  do  in  the  S.  Pietro  relief  and  at  Peretola, 
and  are  of  more  normal  proportions.  I am  inclined  to  date  this  relief  from 
1464,  when  the  contract  was  made  with  Luca  alone. 

(2).  S.  Giovanni  Battista  and  two  Angels.  Photos.,  Alinari,  No. 
35 1 1 ; Brogi,  No.  4923. 

Michelozzo’s  silver  statuette  of  the  Baptist  made  in  1452  for  the 
altar  of  the  Baptistery  of  Horence  is  awkward  and  complicated  when  com- 
pared with  the  noble  simplicity  of  this  panel.  Here  (Fig.  123)  the  Baptist 
clad  in  a raiment  of  camel’s  hair  (Matth.  Ill,  4),  but  with  a cloth  instead 


LUCA  DELLA  ROBBIA 


190 


of  a “leather”  girdle,  is  seated  on  a bench.  The  raised  index  finger  of 
his  right  hand  and  the  once  beautiful  cross  are  symbols  of  his  character  as 
a precursor.  As  compared  with  Luca’s  standing  figure  of  the  Baptist  in 
the  altar  of  the  Holy  Cross  at  Impruneta  this  one  is  sadder,  as  if  he 


realized  more  completely  the  tragedy  of  the  crucifixion.  The  angels  are 
more  gracefully  posed  than  in  the  preceding  panel  and  have  their  hands 
crossed  on  their  hearts  in  adoration.  This  probably  dates  also  from  1464. 

(3).  S.  Giovanni  Evangelista  and  two  Angels.  Photos.,  Alinari,  No. 

35T3  : Brogi,  No.  4924. 

S.  Giovanni  Evangelista  (Fig.  124)  is  seated  on  a somewhat  longer 
bench  than  those  in  the  preceding  reliefs.  He  is  intently  writing.  The 
symbolic  eagle  may  be  supposed  to  furnish  him  inspiration,  while  attendant 
angels  stand  ready  to  serve  him.  If  we  compare  this  relief  with  the  repre- 
sentation of  the  same  Evangelist  in  the  Apostle  series  of  the  Pazzi  Chapel, 
we  may  observe  a change  in  the  direction  cf  simplification.  Here  S.  Gio- 
vanni wears  no  halo;  he  is  not  bald,  but  lias  hair  enough  to  conceal  his 
ear  (possibly  on  account  of  the  difficulty  of  casting)  ; lie  wears  a more 
haggard  expression ; his  drapery  is  less  complicated  and  the  studied  arrange- 
ment of  the  folds  is  not  so  obvious.  The  girdle  which  interested  Luca  so 


Fig.  123.  S.  Giovanni  Battista. 


LUCA  DELLA  ROBBIA 


I9I 

much  in  the  Pazzi  Chapel  medallions  and  which  he  retained  on  the  preceding 
reliefs  has  practically  disappeared.  We  see  it  at  its  vanishing  point  on 
these  two  angels.  The  books  which  the  angels  carry  are  barren  of  orna- 
ment. The  eagle  is  somewhat  commonplace.  On  the  Pazzi  Chapel  medal- 


lion it  has  a nobler  quality,  with  its  long  neck  feathers  and  splendid  talons. 
The  clouds  on  which  the  eagle  stands  we  have  already  seen  surrounding  the 
Holy  Dove  on  the  Tabernacle  at  Peretola  and  imitated  in  colour  on  the 
Pazzi  Chapel  medallions. 


(4).  S.  Matteo  and  two  Angels.  Photos.,  Alinari,  No.  3512;  Brogi, 
No.  4925. 

In  this  relief  (Fig'.  125)  for  the  sake  of  variety,  the  bench  is  set 
diagonally.  On  it  S.  Matteo  is  seated  intently  writing.  The  symbolic  angel 
emerging  from  the  clouds  is  not  dictating,  but  pausing  with  arms  crossed 
to  read  the  inspired  word.  A similar  curiosity  is  exhibited  by  one  of  the 
standing  angels  who  peers  over  the  Evangelist  s shoulder.  1 he  othei 
offers  him  the  inkstand.  As  compared  with  the  medallion  of  S.  Matteo 
on  the  sidewall  of  the  Pazzi  Chapel  we  see  here  a simplification  similar 
to  that  observed  in  the  preceding  relief.  No  one  of  the  figures  wears  either 
a halo  or  a girdle. 


1 92 


LUCA  DELLA  ROBBIA 


(5).  S.  Luca  and  two  Angels.  Photos.,  Alinari,  No.  3514;  Brogi, 
No.  4926. 

S.  Luca  is  seated  on  a long  bench  with  pen  and  book  awaiting  an 
inspiration  (Fig.  126).  The  symbolic  ox  does  not  give  it  and  the  angels 
are  merely  awaiting  orders.  For  the  sake  of  variety  both  angels  here  are 
female.  We  may  notice  that  the  clouds  on  which  the  ox  rests  are  repre- 
sented in  less  plastic  fashion  when  compared  with  the  preceding  reliefs;  also 
that  there  is  less  detail  in  the  indication  of  feathers  in  all  the  wings.  And 


Fig.  126.  S.  Luca. 


yet  this  relief  was  to  be  set  near  the  spectator's  eye.  Schubring  draws 
attention  to  the  elongation  of  the  torso  and  explains  it  on  the  ground  that 
the  reliefs  were  to  be  seen  from  below.  If  this  were  the  case  we  should 
expect  to  find  a shortening  of  the  torso  in  those  panels  which  fall  below  the 
eye  of  the  spectator,  and  those  near  the  horizon  line  of  the  spectator  should 
be  normally  proportioned.  Luca  appears  to  have  had  no  notion  of  perspec- 
tive di  sotto  in  su , but  designed  all  his  panels  as  if  they  were  to  be  set  at 
the  same  height  from  the  ground. 

(6).  S.  Marco  and  two  Angels.  Photos.,  Alinari,  No.  3515;  Brogi, 
No.  4927. 

Again  the  bench  appears  diagonally  and  S.  Marco  (Fig.  127),  with 
neither  pen  nor  inkstand  holds  on  his  knee  a heavy  book,  set  on  edge 


LUCA  DELLA  ROBBIA 


T93 


towards  the  spectator.  He  has  the  air  of  a thinker.  The  symbolic  lion 
holding  a book  rests  on  a cloud  plastically  indicated.  Its  wings  and  those 
of  the  angels  show  little  detail.  The  anxious  expression  of  S.  Marco 
recalls  that  of  the  S.  Pietro  released  from  prison ; the  angels  also  with  their 


Fig.  i 21.  S.  Marco.  Fig.  128.  S.  Ambrogio. 

fluttering  stoles  and  the  swinging  lines  of  their  draperies  recall  some  of 
the  angels  of  the  Cantoria.  Luca  could  never  altogether  forget  the  graceful 
curves  which  he  had  learned  in  his  youth  from  Ghiberti. 

(7).  S.  Ambrogio  and  two  Angels.  Photos.,  Alinari,  No.  3516;  Brogi, 
No.  4928. 

An  extraordinary  resemblance  may  be  noted  between  the  first  and  the 
last  of  the  Doctors.  Both  wear  a plain  Bishop’s  mitre,  a dahiiatica  fast- 
ened by  a plain  pluvial  button,  and  a stole  crossed  upon  the  breast,  d heir 
features  are  the  same.  The  sole  difference  is  that  this  one  (Fig.  128) 
is  characterized  as  an  exegete  comparing  two  texts,  the  other  as  a writer 
guided  by  an  angel.  In  all  probability  the  exegete  is  S.  Ambrogio,  Arch- 
bishop of  Milan,  and  the  writer  S.  Agostino,  Bishop  of  Hippo.  Both 
resemble  Luca’s  S.  Agostino  at  Impruneta  more  closely  than  they  do 
Michelozzo’s  S.  Agostino  at  Montepulciano.  Venturi  follows  Marcel  Rey- 
mond  in  attributing  the  design  of  all  the  Doctors  to  Michelozzo,  but  be- 
lieves that  they  were  forcibly  harmonized  with  the  other  panels  by  Luca 


194 


LUCA  DELLA  ROBBIA 


himself.  He  finds  in  them  double  motives  not  to  be  expected  of  the  simple 
minded  Luca.  But  we  may  ask : are  duplex  motives  characteristic  of 
Michelozzo,  and  how  could  Luca  have  presented  a scholar  comparing  two 
texts  more  simply  than  is  done  in  this  panel?  The  angels,  not  faultless  in 
proportion,  are  similar  in  style  and  construction  to  those  in  the  preceding 
panels. 

(8).  S.  Girolamo  and  two  Angels.  Photos.,  Alinari,  No.  3517;  Brogi, 
No.  4929. 

S.  Girolamo  (Fig.  129)  tonsured  and  in  monastic  costume,  is  trans- 
lating the  Scriptures  which  an  angel  holds  before  him.  I cannot  see  in 


Fig.  129.  S.  Girolamo. 

this  relief,  with  Venturi,  a double  motive  foreign  to  Luca.  The  angels  are 
variants  of  those  in  the  preceding  reliefs.  One  of  them  carries  S.  Giro- 
lamo’s cardinal  hat,  symbolical  of  his  rank. 

(9).  S.  Gregorio  and  two  Angels.  Photos.,  Alinari,  No.  3518;  Brogi, 
No.  4930. 

S.  Gregorio  (Fig.  130),  as  a Doctor,  holds  a book,  but  his  official 
dignity  is  not  forgotten.  As  Pope  he  wears  an  early  form  of  Papal  tiara, 
and  his  stole  makes  a tail  cross.  A dove  is  whispering  in  his  ear,  while  he 


LUCA  DELLA  ROBBIA 


195 


is  blessing  with  his  right  hand.  The  angels,  rather  conspicuously  exhibit- 
ing a book  and  an  incense  burner,  are  heavy  in  type  and  the  folds  of  their 
garments  are  somewhat  rigid.  Heavy  and  unattractive  as  these  angels  are 
we  may  recognize  in  them  the  directing  hand  of  Luca  della  Robbia  rather 
than  that  of  Michelozzo. 


Fig.  130.  S.  Gregorio. 


Fig.  13 1 . S.  Agostino. 


(10).  S.  Agostino  and  two  Angels.  Photos.,  Alinari,  No.  3519; 
Brogi,  No.  4931. 

S.  Agostino  (Fig.  1 3 1 ) , perhaps  the  greatest  of  the  four  Latin  Fathers 
or  Doctors  of  the  Church,  is  about  to  write  while  guided  by  the  Scriptures 
shown  to  him  by  an  angel.  This  angel  of  the  index  finger,  in  whose  face 
Venturi  discovers  a vulgar  expression,  but  which  Miss  Cruttwell  finds 
exceedingly  beautiful,  has  certainly  more  grace  and  charm  than  we  could 
expect  from  Michelozzo.  In  all  of  its  details  it  gives  evidence  of  Luca  s 
workmanship. 


DOCUMENTS 

Nos.  1,  4,  5,  6,  15  are  quoted  from  Fabriczy,  /.  k.  p.  K.,  XXV 
(1904),  51,  91,  90,  96,  92;  Nos.  2,  7,  12,  14,  are  quoted  from  Cruttwell, 
294,  297,  299,  300;  Nos.  9,  10,  11,  from  v.  Rumohr,  II,  368,  370,  372; 
No.  8 is  from  Maso’s  Libro  di  Conti,  c.  30  l. ; and  No.  13  from  Cavallucci, 
S'.  Maria  del  Fiore,  II,  137. 

1.  1437.  Feb.  14,  [1436  O.  S.].  Provisor  dee  ope  teneatur  et  debeat 


196 


LUCA  DELLA  ROBBIA 


locare  Donato  nicolaj  magistro  intaglj  unam  ex  duabus  sacristijs  novis 
maioris  ecclesie  florentine  de  bronzo  cum  illis  pactis  modis  et  conditionibus, 
tempore  et  pretio  prout  declarabitur  per  Nicolaum  Johanotij  de  biliottis, 
Salvestrum  Jacobj  de  risalitis  dominos  ex  offitio  ipsorum  operariorum  et 
quidquid  circa  predicta  fuerit  factum  per  dictum  Gualterottum  et  dictos 
duos  operarios  intelligatur  et  sit  ac  si  factum  fuerit  per  eorum  offitium. 

Archivio  dell’  Opera  del  Duomo.  Libro  dclle  Deliberazioni  dal  1436 
al  1444,  a.  c.  13. 

2.  1437,  Feb.  21,  [1436  O.  S.].  Item  commisserunt  Nicolao  Johanotti 
de  Biliottis  et  Salito  Jacobi  di  Risalitis  duabus  ex  eorum  offitio  locandi 
Donato  Niccolai  Betti  Bardi  civi  Florentino  magistro  intagli  faciendo  duas 
portas  di  bronzo  duabus  novis  sacristiis  cathedralis  ecclesie  floren- 
tine pro  pretio  in  totum  flor.  1900  pro  eo  tempore  et  cum  illis  pactis  et 
storiis  et  modis  prout  eis  videbitur  fore  utilius  et  honorabilius  pro  dicta 
opera  et  quidquid  fecerint  circa  predictum  intelligatur  et  sit  ac  si  factum 
foret  per  totum  eorum  officium. 

Archivio  dell’  Opera  del  Duomc.  Libro  dci  Dclib.  etc.  a.  c.  21. 

3.  1437,  March  27.  This  is  the  date  of  the  contract  actually  made  with 
Donatello,  according  to  Document  No.  4. 

4.  1445,  Dec.  24.  Die  XXIITJ  [decembris  1445]  Michelozo  bartolo- 
mej.  Luce  simonis  dellarobbia,  Maso  bartolomej  presentibus  et  recipientibus 
pro  faciendum  unam  portam  pro  una  ex  duobus  sacrestiis  in  . . . flor. 
aurj  vigintjquatuor  libras  septuaginta  quatuor  solidos  quinque  denarios 
decern. 

Archivio  dell'  Opera  del  Duomo.  Stanziamenti  dal  1442  al  1447,  a.  c. 

102  l. 

5.  1446,  Feb.  28  [1445  O.  S.].  In  Dei  Nomine  Amen.  Anno  domini 
ab  eius  incarnationem  MCCCCXL  quinta  jndc.  ottava  die  vigesima  ottava 
mensis  februarii  Actum  in  audientia  operariorum  interiori  presentibus 
testibus  ad  infrascripta  omnia  nominatis  habitis  et  rogatis 

Nobiles  et  prudentes  viri 

Anfejone  [Amphion]  Laurentii  Pieri  Lenzi  et  ) opere 
Matheus  Antonii  de  Albertis  f operarii 

chathedralis  ecclesie  sancte  Marie  del  Fiore  civitatis  florentie  simul  in 
audientia  et  locho  eorum  solite  congregationis  pro  ipsorum  offitio  exercendo 
Intellecto  qualiter  Consules  artis  lane  proxime  preteriti  [ ?]  Intellecto  loca- 
tione  facte  Donato  Nicolai  die  XXVIJ  martii  MCCCCXXXVIJ  [1437] 
de  duabus  portis  produabus  sacrestiis  majoris  Ecclesie  florentine  et  intel- 
lecto qualiter  dictus  donatus  dictas  portas  non  fecit  et  justis  de  causis 
dicti  dnj  consules  unam  de  dictis  duabus  portibus  [sic]  removerunt  a dicto 
donato  et  concesserunt  licentiam  prefatis  operariis  dictam  portam  prime 
sacrestie  locande  eis  et  quibus  et  pro  eo  pretio  prout  sibi  videbitur  Oui- 
quidem  operarii  visa  dicta  licentia  omni  modo  ecc.  locaverunt  et  concesserunt. 
Ad  faciendum  unam  portam  bronzi  pro  prima  sacrestia 
Michelozio  bartolomei  populi  sci  marci 
Luce  simonis  marci  delarobia  et 
Maso  bartolomej. 


LUCA  DELLA  ROBBIA 


197 


sociis  intagliatoribus  dictam  portam  moclo  et  forma  inferius  descripta  prout 
apparet  per  scriptum  factum  manu  dicti  Michelozi  cuius  tenor  de  verbo  ad 
verbum  tabs  est  vz. 

Gli  operai  aluoghano  et  danno  affare  a 
Michelozo]  una  porta  cli  bronzo  perla  prima  sagrestia 
Luca  et  [ disanta  maria  delfiore  diquella  alteza  et 
Maso  J largheza  chessaspetta  et  richiede  allaforma 
gia  data  alladetta  sagrestia  E di  cpiella  forma  modo  et  ornamentj  che  mostra 
uno  Modello  al  presente  e apresso  aldetto  michelozo  et  conpagnj  di  questa 
forma  El  quale  modello  debba  stare  nella  udientia  clidettj  opera  j. 

La  detta  porta  dj  due  pezzj  Et  in  ciaschuno  pezo  cinque  quadrj  vz. 
ornatj  dj  Cornicj  doppie  Infrallequalj  cornicj  debbano  idettj  Maestrj  fare 
fregj  pianj  lavoratj  alladamaschina  doro  et  dariento  o dariento  solo  come 
parra  adettj  operaj  Et  Inciascbunchanto  dedettj  quadrj  uno  conpassino 
entrovj  una  testa  diprofeta  dellequalj  teste  nera  dodicj  in  ciaschun  lato  Et 
jnciaschuno  dedettj  quadrj  tre  fighure  cioe  nelmezo  dj  ciaschuno  quaclro 
uno  tabernacolo  dj  mezo  rilievo  lavorato  alia  domaschina  come  idettj  fregi 
Entrovj  una  fighura  assedere  djmezo  rilievo  nominata  Chosi  Chenne  primj 
due  quadrj  disopra  e nel  primo  da  man  ritta  lafigura  dinostra  donna  colfi- 
gljuolo  inbraccio  Nellaltro  lafighura  di  santo  Giovannj  batista  Et  Incias- 
chuno  deglialtri  quadrj  cherestano  otto  la  fighura  devangelistj  edottorj 
dellachiesa  Eciaschuno  condue  angiolettj  rittj  dallato  fattj  dimenzo  rilievo  E 
nerovescio  djdetta  porta  imedesimj  quadrj  che  daritto  Ricintj  djcornicj  come 
djsopra  ecome  mostra  detto  modello  senza  alcuna  fighura  oaltrj  ornamentj. 

Et  promettono  dettj  Michelozo  Lucha  et  Maso  tutte  ledette  chose  fare 
et  perfettamente  conduciere  a uso  dibuonj  huominj  infraltenpo  et  termine 
ditre  annj 

Et  Idettj  operaj  debbano  prestare  aldetto  Michelozo  Lucha  et  Maso 
per  suppljmento  deldetto  lavorio  Inanzi  fiordugento  cinquanta 

Et  dipoj  per  aumento  dessa  ciaschuno  mese  fj.  venticinque 

Prout  apparet  in  dicta  scritta. 

Et  dictj  operaj  dare  debeant  predictis  pro  eorum  magistario  et  labore 
floren.  aurj  Millecentum 

Et  quia  in  dicto  Modello  sunt  adclitj  [sic]  certa  ornamenta  allada- 
maschina seminatj  circha  conpassus  et  intabernaculis  dictarum  fighurarum 
que  res  non  sunt  conprese  in  superius  pro  qua  agiunta  abere  debent  illucl 
plus  quod  declarabitur  per  offitiales  operariorum  pro  tempore  existentium 

Et  tenentur  dictj  Operarij  dare  dictis  Michelozo  Luche  et  Maso  pro 
facienda  predicta  Materiam  opportunam  vz.  bronzum  Argentum  et  Aurum 
pertinentem  dictas  portas 

Que  omnia  promittentes  dictj  Michelotius  Lucas  et  Masus  condu- 
centes  et  presentes  actendere  et  observare  sub  pena  fior.  aurj.  Mille 

Archivio  dell'  Opera  del  Duomo.  Alloghagioni  dclopcra  di  S.  Maria 
del  fiore  al  tempo  di  Scr  Nicholaio  di  Dicdi  di  Nicholaio,  coniinciato  anno 
MCCCC0  XXX VII J,  a.  c.  51. 

6.  1447,  Feb.  28  [1446  O.  S.].  The  doors  were,  in  part  at  least,  cast 

by  the  beginning  of  the  year  1447,  as  Michelozzo  was  directed  to  use  the 
left  over  bronze  for  the  graticola  for  the  altar  of  S.  Stefano. 

“Et  gli  operai  detti  glidebbino  dare  tutta  la  materia  et  perinsino  avra 


LUCA  DELLA  ROBBIA 


198 

sene  glida  libre  cinquecento  cinquantasej  che  avanzo  del  gietto  delle  porte 
della  sagrestia” 

Archivio  dell’  Opera  del  Duomo.  Alloghagioni,  etc.  a.  c.  57. 

7.  1451,  Dec.  31.  “Quod  provisor  opere  describat  in  delib.  de  opere 
in  Libro  giallo-Michelozium  Bartolomei  Lucam  Simonis  della  Robbia  et 
Tomasium  Bartolomie,  socios  et  conductores  porte  bronzi  pro  sacristia  D. 
63  con  certo  reparto  fra  loro.’’ 

Archivio  dell'  Opera  del  Duomo.  Alloghagioni,  etc.  a.  c.  71. 

8.  1451,  Dec.  31.  L’opera  di  Santa  Maria  del  Fiore  de  dare  L.  tren- 

tuna  bol  10  cioe  L.  31  B.  10  piccioli  per  una  promessa  che  mi  feciono  gli 
operai  per  la  terza  parte  del  tetto  che  noi  faciemo  in  bottega  dove  noi 
faciemo  e telai  della  porta  della  sagrestia  di  santa  Maria  del  Fiore  che 
faciemo  el  detto  staglo  dachordo  Michelozo  e Luca  della  Robbia  e io  a 
di  . . . di  diciembre  monto  tutto  el  tetto  L.  35.  L 31  bol.  10. 

Bibl.  Naz.  Centr.  di  Firenze,  Pal.  Bald.  No.  70.  Cod.  cart,  del  sec. 
XV.  Libro  di  Conti  di  Maso  di  Bartolomeo  da  Firenze  dell'  anno  1449. 
Scarpellatore  di  Pietre  c fonditorc  di  Metallo,  c.  30  ‘. 

9.  1461,  9 Apr.  In  dei  nomine  Amen  Anno  domini  ab  ejus  salutifera 
Incarnatione  Millesimo  quadringentesimo  sexagesimo  primo  Ind.  nona 
men  sis  April  is  etc. 

Egli  e vera  chosa  chome  ^ intagliatori 

Michelozo  di  Bartolomeo  ! 

Lucha  di  Simone  di  Marcho  della  [ avendo  avertenza 

robbia  J 

a una  allogagione  alloro  facta  pegli  operai  di  S.  Maria  del  Fiore  insieme 
con  Maso  di  bartolomeo  ancora  intagliatore  oggi  morto  insino  al  anno 
1445.  et  del  mese  di  febrajo. 

Una  porta  della  prima  sagrestia  cioe  di  due  lati  con  pin  ornamenti  et 
lavorii  come  nella  allogagione  rogata  per  mano  di  me  notaio  infrascritto 
chiaramente  apparisce. 

Onde  oggi  questo  di  detto. 

Michelozo  et  Lucha  sopradetti  con  protestatione  nel  principio  mezo 
et  fine  del  presente  contracto  apposto  cheglino  non  intendono  per  questo 
atto  et  contracto  essere  pin  o meno  oblighati  che  Erano  Inanzi  al  presente 
contracto  sono  contenti  et  di  consentimento  et  volonta  et  in  presentia  de 
nobili  huomini. 

Giovanni  di  Domenicho  Giugni  \ operai  di 

Bartolomeo  dagnolo  Ciai  j detta  opera 

a tutte  le  infrascripte  cose  consentienti  aluoghano  a 

Giovanni  di  Bartolomeo  Intagliatore  presente  et  conducente  per  se  et 
con  quella  conpagnia  allui  piacesse  a 

Nettare  detti  Telai  cioe  detti  due  lati  gia  gittati  et  commettere  e battitoi 
di  detta  porta.  Et  ristorare  se  alcuno  manchamento  fusse  a detti  telai  et 
que  lavorare  In  tutte  le  loro  parti  dallato  Ritto  et  dallato  rovescio  e da 
tutte  le  sue  parti  bene  e diligentemente  a uso  di  buono  maestro.  E tutte 
predette  chose  fare  Intorno  a detti  telai  che  di  Nicista  sara  Intorno  a quelli 
si  et  in  tal  modo  che  niuna  chosa  manchi  se  non  Rizarli  alia  detta  sagrestia. 

Et  sono  dacordo  detto  Giovanni  abbia  per  sua  faticha  et  Maestero  et 
Intero  pagamento  dogni  chosa  delle  sopradette  fiorini  dugento  correnti.  E 


LUCA  DELLA  ROBBIA 


199 


quali  gloperai  anno  a pagare  a detto  Giovanni  o a chi  lui  dicesse  tempo 
per  tempo  chome  lavorra  (lavorera).  E annosi  a porre  al  conto  della  con- 
dotta  tolta  delle  dette  porte  per  detti  Michelozo  et  Lucha  et  Maso. 

E pin  sia  addare  per  lopera  a detto  Giovanni  a spesa  dopera  quella 
quantita  di  bronzo  manchasse  per  avergli  a ristorare  in  alcuna  parte.  E 
simile  ara  (avra)  se  bisogno  navesse. 

E debbe  in  vece  detto  Giovanni  per  potere  mettersi  Tnpunto  di  Masserizie 
a tale  lavorio  appartenenti  et  opportune  fior.  dieci. 

E debbe  detto  Giovanni  lavorare  o fare  lavorare  dette  porte  nell'  opera. 
E lopera  adattarlo  di  luogho  ydoneo. 

E Detto  Giovanni  dar  forniti  detti  telai  come  detto  per  di  qui  a Mesi 
sedici  e quali  sedici  mesi  cominciano  adi  primo  di  maggio  futuro 
MCCCCLXI. 

E decti  operai  parendo  loro  possino  prolungare  per  insino  a Mesi 
quattro  in  una  volta  oppiu. 

Actum  in  opera  dicta  dicta  die  persentibus  testibus  Laurentio  Lapi 
Jobannis  Nicholini.  Jobannis  Francisci  domini  Jobannis  de  Zatis,  Bernardo 
Mathei  del  borra  capudmagister  cupole  et  Maso  Jacobi  Suchieli  capud- 
magistro  opere. 

Arcbivio,  etc.  Alloghagioni,  etc.  a.  c.  72. 

10.  1463,  Dec.  17.  accettarono  dette  porte  sotto  di  17.  dicembre  1463 
per  bene  fatte. 

Arcbivio,  etc.  Alloghagioni,  etc.  a.  c.  72. 

11.  1464,  Aug.  10. — Anno — Millesimo  quatringentesimo  sexagesimo 
quarto  . . . decimo  Aghusti : 

Nobiles  etc. avere  inteso  cbe  l’anno  1444.  [error  for  1445,  O.  S.]  fu 

alloghato  per  loro  Anticessori  a Michelozzo  di  Bartholomeo  Intagliatore  et 
a Lucha  di  Simone  della  robbia  et  a Maso  di  Bartholomeo  Intagliatore  detto 
Masaccio  una  porta  di  due  pezzi  e con  pin  ornamenti  et  pacti  et  modi  come 
nella  alloghatione  si  contiene  per  pregio  et  nome  di  pregio  di  fiorini  1100 
doro  come  apare  al  presente  libro  indietro  a carta  51  Et  inteso,  cbe  dette 
porte  essere  circba  d’anni  venti  cbe  niente  non  vi  si  lavoro  Et  dipoi  inteso 
cbe  nel  anno  1461  . . . di  9.  daprile  di  detto  anno  fu  alloghato  per  gli 
operai  con  licentia  et  consentimento  di  detto  Lucha  a Giovanni  di  bartholo- 
meo Intagliatore  fratello  di  detto  Maso  a netare  et  raconciare  detti  telai  et 
porte  per  pregio  o nome  di  pregio  di  fiorini  200  doro  come  apare  a detto 
libro  alloghazione  a carta  72  Et  inteso  detti  telai  et  porte  essere  nette  et 
bone  et  in  perfetione  raconci  per  conto  l’Alloghagione  allui  fatta  Et  inteso 
cbe  dipoi  dopo  la  detta  alloghagione  dette  porte  sono  poste  dalato  et  dentro 
non  vi  si  fare  nulla  Et  inteso  detto  Maso  di  bartholomeo  essere  morto  pin 
anni  sono  et  inteso  detto  Michelozzo  essere  absentato  et  non  essere 
in  queste  parti  et  non  ci  avere  a essere  di  questo  . . . ne  a questi 
tempi  et  nonne  essere  a Firenze  se  nonne  detto  Lucha  Et  inteso  cbe 
In  quel  tempo  cbe  detti  telai  e porte  furono  alloghate  e detto  Lucha  miche- 
lozzo  et  maso  loro  avere  auti  anche  di  fiorini  quatrocento  o pin  Et  queli 
glebbono  Michelozzo  et  Maso  et  detto  Lucha  nonne  avere  avuto  nulla 
come  apare  . . . libri  di  proveditori  di  detto  opera  et  fior.  200  dati  a detto 
Giovanni  di  Bartholomeo  per  detta  nettatura  Et  volendo  detti  operai  cbe 
dette  porte  et  telai  abbino  qualche  volta  Effetto  et  conciateli  a perfetione  et 


200 


LUCA  DELLA  ROBBTA 


inteso  la  volonta  di  detto  Lucha  et  vedendo  detto  Maso  morto  et  detto 
Michelozzo  absintato  non  veggendo  alchuno  modo  che  sia  migliore  pin 
beneficio  della  opera  et  volendo  che  dette  porte  et  telai  abbino  efetto  che 
lusingna  uscire  della  alloghagione  presente  che  altrimenti  si  potrebbe  far 
nulla  et  starebbe  sanza  alchuno  efetto  et  in  danno  et  verghongna  della  cletta 
opera.  Et  vedendo  et  considerando  quello  che  fu  etc. 

Allogorono  a detto  Lucha  presenti  et  conducenti  et  in  suo  nome  proprio 
a finire  et  conpiere  dette  porte  che  sieno  In  quella  forma  et  modo  come 
nella  alloghagione  prima  apare.  Et  questo  fecono  (feciono)  per  pregio  di 
fiorini  septecento  de  qnali  si  debba  fare  e paghamenti  a detto  Lucha  . . . et 
in  quel  modo  et  forma  parra  agli  operai  che  in  tenpi  saranno  con  questo  che 
la  materia  che  bisonera  per  netare  . . . dette  porte  gli  sia  dato.  Et  ongni 
altra  cosa  di  suo  propio.  Et  il  quale  Lucha  presente  conducente  et  consen- 
tiente  alia  presente  alloghagione  Ratificho  et  obligosi  sotto  etc. 

Archivio,  etc.  Alloghagioni,  a.  c.  73,  repeated  a.  c.  79. 

On  carta  73  the  text  varies  toward  the  end,  reading: 

“a  fare  conpiere  et  storiare  dette  porte  et  ongni  altra  et  qualunque  cosa 
come  nella  prima  alloghagione  si  contiene  che  1 abbino  piena  perfetione 
per  pregio  etc.” 

12.  1466,  Oct.  30.  “Luce  Simonis  della  Robbia  intagliatore  florenos 
50  sunt  pro  parte  ianue  pro  sagrestia,  etc.  . . 

Archivio,  etc.  Alloghagioni,  a.  c.  . . . 

13.  1467,  Nov.  4.  Andrea  del  Verrocchio  dee  avere  per  metallo 
prestato  a Luca  e a Michelozzo  per  gettare  le  due  ultime  storie  della  porta 
della  Sagrestia  Fior. 

Archivio,  etc. 

Note,  Fabriczy  {op.  cit.)  could  not  find  this  Document. 

14.  1468,  June  30.  “Luche  Simonis  della  Robbia  fior.  20  sunt  pro 
parte  ianue  pro  sagristia. 

Archivio,  etc.  Alloghagioni,  a.  c.  . . . 

15.  1469,  July  27.  Lucha  di  Simone  della  robbia  schultore  de  dare 

adj  XXVIJ  di  luglio  [1469]  LI.  quattro  ss.  Ill J porto  contanti  per  resto 
di  questa  ragione.  LI.  4.  ss.  4. 

Archivio,  etc.  Libro  di  cassa,  cominciato  il  p°  di  gennaio  1468, 
a.  c.  46. 

16.  1474,  June  27.  This  date  is  given  by  Milanesi,  Vasari,  II,  202  for 
the  completion  of  the  work. 


BIBLIOGRAPHY 

XVI  cent.,  Albertini,  10;  Anonimo  d.  Cod.  Magi.,  80;  Billi,  45;  Vasari,  II,  172,  201; 

XVII  cent.,  Del  Migliore,  29-30; 

XVIII  cent.,  Richa,  VI,  149; 

XIX  cent.,  Baldinucci,  V,  218;  Bode,  Kf,  8;  A.  S.  A.,  II  (1889),  3;  It.  Bild.  Ren.,  71-72; 
J.  k.  />.  K.,  VII,  (1885),  179;  Cavallucci,  II,  137  (Doc.);  Cavallucci  et 
Molinier,  28-34  (Doc.),  209,  No.  24;  Cicognara,  IV,  239-240,  Tav.  24; 
Janitschek,  260;  Marquand,  A.  J.  A.,  IX  (1894),  17-18,  PI.  8;  Perkins, 
T.  S.,  I,  194;  FI.  H.,  140;  Reymond,  D.  R.,  33-41,  100-101,  139-141;  Sc. 
FI.,  II,  167-168,  191-193;  Rnmohr,  II,  292-294,  365-372  (Doc.);  Yriarte, 
31-33.  66  (Doc.). 

Bode,  J.  k.  p.  K.,  XXI  (1900),  4-5;  Denkm.,  59,  Taf.  214;  FI.  Bildh., 


XX  cent., 


LUCA  DELLA  ROBBJA 


201 


in-112,  Abb.  62-63 ; FI.  Sc.,  77-78,  PI.  36;  It.  PL,  85;  Burckhardt,  425; 
Burlamacchi,  26-28,  98  (Doc.),  208;  Cruttwell,  80-88,  294-298  (Doc.), 
323  Doering-Dachau,  15-16,  Abb.  20;  Fabriczy,  J.  k.  />.  K.,  XXV  (1904), 
Beih.,  51,  90-91  (Doc.)  ; de  Foville,  41,  45,  47,  64-69;  Michel,  IV,  81-82, 
Fig-  56-57;  Schubring,  49-54,  Abb.  47-51;  Venturi,  VI,  366,  372,  567- 
572,  Fig.  382; 


55  THE  INCREDULITY  OF  S.  TOMMASO.  Berlin,  Collection  of 
Herr  Adolph  von  Beckerath.  H.,  0.48  m.  Unglazed  terra-cotta. 
Photo.,  private. 

This  relief  (Fig.  132)  was  purchased  from  Bardini,  Florence.  The 
head  and  right  hand  of  the  Christ,  shown  in  Schubring’s  illustration,  are 
modern.  Schubring  offers  the  interesting  hypothesis  that  this  group  may 


Fig.  132.  Incredulity  of  S.  Tommaso. 

have  been  designed  for  that  tabernacle  in  Or  San  Michele  which  now  con- 
tains Verrocchio’s  celebrated  group  of  the  doubting  Thomas.  The  Mercan- 
zia  might  naturally  have  first  thought  of  entrusting  the  group  to  Luca  della 


202 


LUCA  DELLA  ROBBIA 


Robbia,  who  in  1463  had  completed  for  them  the  very  beautiful  medallion 
immediately  above  the  tabernacle.  They  did  not  come  into  undisputed 
possession  of  the  tabernacle  until  March  26,  1463,  and  payments  to  Verroc- 
chio begin  in  1465.  This  would  define  within  the  narrow  limits  a date  for 
Luca’s  group. 

Judged  by  its  stylistic  character  it  has  been  properly  attributed.  The 
head,  hands,  and  drapery  of  S.  Tommaso  are  strictly  analogous  to  those 
of  certain  angels  on  the  bronze  sacristy  doors,  and  to  those  in  the  lunette 
acquired  by  the  Berlin  Museum  in  1906  . The  only  hesitation  one  might  feel 
in  attributing  this  group  to  Luca  himself  is  whether,  after  having  created  so 
individual  a type  for  S.  Tommaso  as  that  in  the  Pazzi  Chapel,  Luca  could 
have  so  far  retrograded  as  to  represent  that  saint  here  as  an  ordinary 
angel. 


BIBLIOGRAPHY 

Cruttwell,  88-89,  323;  Schubring,  69-70,  Abb.  66;  Venturi,  VI,  572. 


56  STEMMA  OF  RENE  D’ ANJOU.  London,  Victoria  and  Albert  Mu- 
seum, No.  6740,  ’60.  Diarn.,  3.24  m.  Photo.,  Museum. 

This  large  medallion  (Fig.  133)  was  originally  at  Fiesole,  where 
it  decorated  the  Pazzi  Villa  known  today  as  the  Loggia  dei  Pazzi,  and,  from 
its  later  owners,  as  the  Villa  Panciatichi  Ximenes.  It  represents  the  arms 
and  insignia  of  the  good  King  Rene  of  Anjou,  pretender  to  the  throne  of 
Naples  and  Sicily.  He  visited  Andrea  dei  Pazzi  in  1442,  stood  as  godfather 
to  a son  of  Piero  dei  Pazzi,  who  bore  his  name  Renato,  made  Andrea  a 
knight,  and  in  1453  received  Jacopo  dei  Pazzi  into  the  Order  of  the  Cres- 
cent, which  he  established  in  the  year  1448. 

The  frame  is  composed  of  fourteen  segments,  and  represents  a garland 
of  fruit  between  an  outer  egg  and  dart  and  flat  leaf  and  dart  moulding. 
The  unusually  round  “eggs’”  and  the  complete  arrowlike  darts,  are 
paralleled  only  in  the  tabernacle  of  the  Holy  Cross  at  Impruneta.  The  fruit 
garland  is  crisp  and  finely  modelled,  recalling  that  of  the  stemma  of  the 
Mercanzia  on  Or  San  Michele.  The  garland  consists  of  seven  kinds  of 
fruit,  pines,  pears,  lemons,  plums,  quinces,  grapes  and  cucumbers,  each 
variety  of  fruit  being  represented  by  four  bunches  differing  from  each 
other.  There  is  a noticeable  absence  of  conventionality  or  of  symmetrical 


LUCA  DELLA  ROBBIA 


^03 


Fig.  13,3.  Stemma  of  Rene  d’Anjou. 

Between  this  frame  and  the  medallion  is  a bordure  gules  (violet) 
raguly  argent  (white),  possibly  a sign  of  cadency,  or  merely  a decoration. 

The  field  of  the  medallion  is  green,  against  which  appear  the  emblems 
and  arms  of  Rene  d’Anjou.  Here  are  rustic  letters  IR  for  Isabelle  and 


arrangement.  As  our  eye  scans  the  garland,  following  its  motion  like  the 
hands  of  a clock,  we  find  in  general  an  alternation  from  dark  coloured  to 
light  coloured  fruit ; but  even  this  rule  is  not  and  could  not  be  strictly 
followed.  In  colouring  the  leaves  the  dull  effect  of  flat  tints  is  avoided, 
and  a certain  brilliancy  given,  by  the  superposition  of  different  shades  of 
green  or  of  yellow  on  green. 


204 


LUCA  DELLA  ROBBIA 


Rene  (or  possibly  Iacopo  and  Rene),  violet  dames  rising  from  two  bra- 
ziers from  the  handles  of  which  hangs  a scroll  inscribed  Dardant  dcsir,  a 
motto  indicative  of  Rene’s  passion  for  his  wife.  The  braziers  emitting 
dames  were  also  a Pazzi  emblem,  in  memory  of  Pazzo  dei  Pazzi  who  in  1099 
brought  from  Jerusalem  a stone  from  the  Holy  Sepulchre,  still  used  to 
ignite  the  Colombina  and  the  Carro  dei  Pazzi  during  the  festival  held 
before  the  Cathedral  on  the  Saturday  before  Easter.  Beneath  the  shield 
is  a crescent,  argent,  above  which  is  the  Provenqal  motto  Los  cn  croissant, 
emblem  of  the  order  he  had  founded  and  to  which  he  had  elected  Jacopo  dei 
Pazzi.  Above  the  shield  the  crest  consists  of  a royal  helmet,  or  (yellow), 
surmounted  by  a fleur  de  lys  (both  Florentine  and  French),  and  two  Ara- 
gonese dragon  wings,  or  and  gules,  and  with  a mantle  embroidered  with 
fleur  de  lys,  or,  and  lined  with  ermine. 

The  shield  displays  five  quarterings,  surcharged  with  an  inescutcheon. 
The  chief  or  upper  half  of  the  shield  displays  Rene's  royal  claims,  inherited 
after  the  death  of  his  elder  brother  Louis  III  (d.  Nov.  12,  1434),  and  of 
Giovanna  of  Naples  (d.  Feb.  2,  1435),  t0  the  kingdoms  of  Hungary,  Sicily 
and  Jerusalem.  The  arms  of  Hungary  occupy  the  first  place  and  is  barry 
alternately  argent  and  gides.  Next  are  those  of  Sicily  (ancien  Anjou) 
azure,  seme  with  fleur  de  lys,  or,  with  a label  of  five  points,  gules.  The 
third  place  is  occupied  by  the  arms  of  Jerusalem,  argent,  with  a cross  potent 
between  four  crosslets,  or.  The  base  presents  first  the  arms  of  Anjou 
moderne  (duche)  azure,  seme  with  fleur  de  lys,  or,  with  a bordure,  gules. 
Next  are  the  arms  of  Bari,  azure,  seme  with  cross  crosslets  fitched,  or,  and 
two  barbels,  or.  It  may  be  observed  that  the  two  barbels  are  normally  set 
back  to  back,  and  strongly  resemble  the  arms  of  the  Pazzi  family.  The  arms 
of  the  Duchy  of  Anjou  were  inherited  by  Rene  from  his  father,  those  of 
Bari  from  his  maternal  granduncle,  Cardinal  Louis,  Duke  of  Bari.  The 
inescutcheon,  or,  with  four  pales,  gules,  denotes  the  house  of  Aragon,  the 
crown  of  which  was  offered  to  and  accepted  by  Rene  at  the  end  of  1466. 
In  an  important  contribution  read  before  the  Academie  des  Inscriptions, 
Feb.  28,  1908,  M.  Paul  Durrieu  traces  the  various  arms  used  by  good  King 
Rene,  and  has  proved  that  the  arms  as  here  displayed  were  used  only  during 
the  period  1466  to  1480.  It  seems  likely  that  Jacopo  dei  Pazzi  had  this 
stemma  executed  soon  after  his  ill-fated  friend  and  patron  received  the 
title  to  the  crown  of  Aragon. 


LUCA  DELLA  ROBBIA 


205 


BIBLIOGRAPHY 

XIX  cent.,  Cavallucci  et  Molinier,  55,  71-72,  264,  No.  372;  Le  coy  de  la  Marche 

Le  Roi  Rene,  Paris;  Quatrebarbes,  Oeuvres  completes  du  Roi  Rene, 
Angers,  1845;  Reymond,  D.  R.,  61-63;  Sc.  FL,  II,  203-205;  Robinson, 
54-56,  No.  6740;  Villeneuve-Bargemont,  Histoirc  de  Rene  d’ Anjou,  Paris, 
1825. 

XX  cent.,  Bode,  J.  k.  p.  K.,  XXI  (1900),  12;  FI.  Bildh.,  127;  FI.  Sc.,  88;  Burlamacchi, 

78-79,  119;  Cruttwell,  100-103,  324;  Durrieu,  102-114;  Michel,  IV,  87; 
Schubring,  67-68,  Abb.  64;  Venturi,  VI,  575. 


57  MEDALLION  WITH  BUST  OF  A YOUTH.  Berlin,  Kaiser- 
Friedrich  Museum.  Diam.,  0.555  m-  Photo.,  Berlin  Museum. 

This  fine  medallion  (Fig.  134)  from  the  Torrigiani  collection  came  into 
the  possession  of  the  Berlin  Museum  in  1894.  Dr.  Bode  considers  it  a 
portrait ; Miss  Cruttwell  calls  it  S.  Ansano  or  some  other  Boy-Saint.  I 


have  suggested  elsewhere  that  it  may  be  a youthful  David.  In  style  it  recalls 
Luca’s  candelabrum-bearing  angels  in  the  Cathedral  of  Florence,  but  is 
superior  to  them  in  modelling.  The  colour  harmony  shown  in  the  robe  or 
breastplate  of  pale  blue,  with  a mantle  of  violet  and  its  reverse  of  bright 
green  is  that  of  Luca’s  later  years.  The  pale  blue  background  is  also  an 
indication  of  a late  date.  1 he  eyes  have  yellow  irises;  the  eyebrows,  lashes 
and  pupils  are  violet.  It  is  probable  that  no  great  interval  of  time  elapsed 


206 


LUCA  DELLA  ROBBIA 


before  the  four  variants  of  this  medallion  ( Liechtenstein  Collection,  Metro- 
politan Museum,  Spitzer  Sale,  Simonetti’s)  were  made  in  the  atelier  of 
Andrea  della  Robbia  (c.  1475). 

BIBLIOGRAPHY 

B'ode,  /.  k.  p.  K.,  XXI  (1900),  30-32;  Denkm.  78-79,  Taf.  229;  FI.  Bildh.,  161-162,  Abb. 

88;  FI.  Sc.,  iio-iii,  PI.  51;  M us.,  II,  69,  Taf.  138;  Cruttwell,  89,  323; 
Doering-Dachau,  21,  Abb.  29;  Marquand,  D.  R.  A.,  89;  Schottmiiller, 
33-35.  No.  75  (I,  2183);  Schubring,  89,  Abb.  100;  Venturi,  VI,  572. 


Fig.  135.  Ceiling  of  Cupola.  Pazzi  Chapel  Porch. 


LUCA  DELLA  ROBBIA 


20/ 


58  CEILING  OF  THE  CUPOLA  OF  THE  PAZZI  CHAPEL  PORCH. 
Florence,  S.  Croce,  Capitolo  e Cappella  di  S.  Andrea  (Pazzi  Chapel). 
Diam.,  4.81  m.  Photos.,  Alinari,  Nos.  2177,  2182;  Brogi, 
No.  9615. 

The  cupola  of  the  porch  of  the  Pazzi  Chapel  is  ceiled  with  glazed 
terra-cotta  decoration  consisting  of  concentric  circles  of  medallions  (Fig. 
1 35 ) . Elat  ceilings,  like  those  of  the  two  baldachinos  at  Impruneta,  Luca 
decorated  with  square  cofferings ; the  tunnel  vault  of  the  Cappella  del  Croci- 
fisso  at  S.  Miniato  is  adorned  with  octagons  and  squares ; but  the  domical 
surfaces  of  the  Portogallo  Chapel  and  of  the  chapel  at  S.  Giobbe,  Venice,  he 


Fig.  136.  Detail  of  Pazzi  Chapel  Ceiling. 


decoiated,  as  here,  with  medallions.  1 he  design  is  a simple  one.  In  the  cen- 
tre is  a violet,  fluted  disk  containing  a shield  with  the  Pazzi  arms,  two  dol- 
phins hauriant,  embowed,  addorsed,  or,  on  a field  azure  seme  of  five  crosslets 
botonny,  fitched,  or.  This  is  surmounted  by  a wreath  of  fruit  and  flowers, 
of  the  continuous  type,  not  broken  up  into  obviously  regular  bunches  (Fig. 
13b).  Had  this  ceiling  been  made  at  as  early  a date  as  1440-14^0  the 


20S 


LUCA  DELLA  ROBBIA 


wreath  would  have  been  composed  of  dowers  only,  or  of  fruit  of  less  com- 
plex composition.  Around  the  central  medallion  are  arranged  other  medal- 
lions in  concentric  circles,  sixteen  medallions  in  each  circle,  expanding  in 
size  toward  the  periphery.  They  are  alike  in  design,  each  consisting  of  a 
central  yellow  rosette  on  a blue,  duted,  concave  ground  surrounded  by  a 
white  frame  decorated  with  wreaths  of  green  laurel.  Between  these  medal- 
lions the  decoration  is  noteworthy.  It  consists  of  yellow  dowers  or  rosettes 
set  against  backgrounds  representing  alternately  a red  porphyry  and  a green 
porphyry  or  serpentine.  The  imitation  of  porphyry  occurs  first  on  the 
fiuted  shell  which  bears  the  Pazzi  arms  in  the  Palazzo  Serristori.  Porphyry 
and  serpentine  were  used  by  Verrocchio  for  the  tomb  of  Piero  and  Giovanni 
de’  Medici  in  S.  Lorenzo.  To  imitate  it  caught  the  fancy  of  Luca  della 
Robbia  and  his  successors,  and  is  found  many  times  in  the  works  of 
Andrea  and  of  Giovanni  della  Robbia. 


BIBLIOGRAPHY 

See  Bibliography  under  No.  25;  also  del  Badia,  Heft  26-28;  Geymuller,  Lief  6 -7;  Gnauth 
u.  Forster,  Taf.  8-12;  Laspeyries,  Taf.  4. 


CHAPTER  V 

1470-1480 


CHAPTER  V 


1470-1480 

59  THE  PESCIA  ALTARPIECE.  Pescia,  Palazzo  Episcopale,  Cap- 
pella.  c.  1472.  H.,  1.27  m. ; W.,  1.63  m.  Photo.,  Burton  & Co. 

This  altarpiece  (Fig.  137)  is  now  in  the  private  chapel  of  the  Palazzo 
Episcopale  at  Pescia  It  bears  on  its  face  evidence  of  having  been  broken  and 
put  together  again.  Below  it  is  an  inscription  to  the  effect  that  these 
precious  fragments  of  a notable  work  by  Luca  della  Robbia,  neglected  for 
many  years  through  the  carelessness  of  the  blind  in  art,  were  restored 
through  the  munificence  of  Pietro  Forti,  Bishop  Elect  of  Pescia,  and  the 
zeal  of  Domenico  Martini,  Acting  Treasurer.  The  inscription  is  dated 
April  3rd,  1847.  The  Marchesa  Burlamacchi  states  that  this  altarpiece 
was  formerly  in  the  Church  of  S.  Pietro  and  that  in  the  year  1784  it  was 
saved  from  a fire  and  transferred  to  the  Palazzo  Episcopale.  It  is  not  clear 
which  of  several  S.  Pietros  is  intended — possibly  it  was  the  Pieve  di  S. 
Pietro  in  Campo,  the  patronage  of  which  was  presented  in  1472  by  Pope 
Sixtus  IV  to  the  Marchese  Capponi  of  Florence,  who  paid  a rental  for  the 
support  of  the  Bishopric  of  Pescia.  But  it  is  more  likely  that  the  altar- 
piece  was  originally  made  for  a church  dedicated  to  one  of  the  saints 
represented  on  the  altar — S.  Jacopo  Maggiore  or  S.  Biagio — subject  to 
the  Madonna  as  patron  of  the  Cathedral  of  Pescia.  No  church  in  the  neigh- 
borhood fits  in  with  this  hypothesis  so  well  as  the  church  of  S.  Jacopo 
at  Altopascio.  This  was  the  home  of  the  Ospitalieri,  an  order  of  philan- 
thropic knights  spread  throughout  Italy  and  the  rest  of  Europe.  From 
1446  to  1472  four  members  of  the  Florentine  Capponi  family  were  en- 
rolled in  its  membership,  and  in  1472  Altopascio,  as  well  as  S.  Pietro  in 
Campo,  was  ceded  by  the  Pope  to  the  Marchese  Capponi.  The  Marchese 
Capponi  seems  to  have  been  the  donor  of  the  altarpiece,  for  it  contains  at 
one  end  of  the  predella  a white  Tau  Cross,  the  emblem  of  the  order  of  the 
Ospitalieri,  and  at  the  other  end  the  Capponi  arms:  Per  bend  sable  (black) 
and  argent  (white). 

This  monument  is  of  special  interest,  as  the  only  altarpiece,  or  tavola, 


212 


LUCA  DELLA  ROBBIA 


attributable  to  Luca  della  Robbia,  whereas  there  are  very  many  made  by 
Andrea  della  Robbia  and  his  school.  We  are  at  once  struck  with  the  gen- 
eral form  which  suggests  a triptych  with  rectangular  panels;  also 
with  the  unusual  character  of  the  frame.  The  influence  of  the  triptych 
survived  in  several  of  Andrea  della  Robbia’s  altarpieces,  and  it  is  not  sur- 
prising that  it  should  have  been  adopted  by  Luca  who  had  a more  conserva- 
tive regard  for  ancient  forms.  The  frame  is  not  constructed  with  the 
usual  pilasters  and  entablature  with  architrave,  frieze  and  cornice,  but 


Fig.  137.  The  Pescia  Altarpiece. 


consists  of  a flat  band  of  white  enamel  decorated  with  six-petalled  rosettes, 
alternately  blue  and  violet,  encircled  with  white  and  set  against  a green 
ground.  This  decoration,  though  designed  by  Luca,  was  doubtless  executed 
by  an  assistant.  The  cornice  is  so  low  and  unimposing  that  we  wonder  if 
there  may  not  formerly  have  been  a frieze  or  other  member  between  it  and 
the  rest  of  the  frame.  But  in  the  tabernacle  of  the  Or  San  Michele  Madonna 
Luca  had  already  made  use  of  a cornice  without  architrave  or  frieze.  The 
execution  of  this  cornice  was  evidently  not  by  Luca  himself.  The  forms  of 
the  leaf  and  dart  and  egg  and  dart  are  not  such  as  Luca  employed  in  his  early 


LUCA  DELLA  ROBBIA 


213 


works,  but  have  a close  resemblance  to  those  employed  in  the  ceiling  of 
S.  Giobbe,  Venice.  Around  the  three  panels  are  cyma  mouldings  of  a 
type  which  Luca  frequently  employed.  The  base  of  the  altarpiece  is 
decorated  with  a frieze  of  grapes,  oranges,  pine  cones,  apples  or  quinces,  and 
citrons  with  a sprinkling  of  flowers,  the  design  and  execution  of  which 
indicates  Luca's  methods  rather  than  his  handiwork. 

The  figured  panels  stand  in  closer  relation  to  the  master’s  art.  To  the 
left,  S.  Jacopo  Maggiore,  holding  a staff  and  a book,  recalls  the  fine 
S.  Jacopo  on  the  east  wall  of  the  Pazzi  Chapel  and  may  well  have  been 
executed  by  Luca  in  his  later  years.  The  seated  Madonna  with  the  adoring 
angels  reminds  us  of  the  compositions  of  the  bronze  sacristy  doors,  with 
the  proportions,  especially  those  of  the  Child,  somewhat  changed.  The 
posing  of  the  Christ  Child  on  a cushion  is  a motive  indicative  of  a late 
period  for  Luca,  from  whom  it  was  borrowed  by  Andrea  della  Robbia. 
The  complicated  drapery  of  the  angel  to  the  left  with  shoulder  cape  and 
crossing  folds  recalls  those  of  the  Heilbronner  and  Cluny  reliefs.  S.  Biagio, 
in  bishop’s  robes  carrying  a book  and  the  iron  carding  comb,  was  like 
S.  Jacopo  a favorite  saint  with  the  Ospitalieri.  In  type  lie  is  not  far  re- 
moved from  the  S.  Agostino  of  the  tabernacle  of  the  Holy  Cross  at 
Impruneta. 

This  altarpiece,  though  not  to  be  classed  with  Luca’s  masterpieces, 
bears  every  evidence  of  having  come  from  his  atelier.  If  we  are  right  in 
assigning  it  to  the  period  immediately  succeeding  1472  we  must  remember 
on  the  one  hand  that  Luca  della  Robbia  was  in  his  declining  years,  and  on 
the  other  that  by  this  time  Andrea  della  Robbia  had  a style  of  his  own, 
which  is  not  represented  in  the  Pescia  altarpiece. 

BIBLIOGRAPHY 

P.  O.  B.  Istoria  della  citta  di  Pescia.  Pescia,  1874.  Burlamacchi,  71,  116;  Cavallucci  et 
Molinier,  242,  No.  225;  Marquand,  A.  J.  A.,  XIII  (1909),  328-333.  Repetti, 
s.  v.  Altopascio,  and  Pescia;  Wills,  133. 

60  CEILING  OF  THE  CAPPELLA  DI  S.  GIOVANNI  BATTISTA 
IN  S.  GIOBBE,  VENICE,  c.  1475.  Photos.,  Alinari,  No.  12430; 
Burton  & Co. 

The  Cappella  di  S.  Giovanni  Battista  in  S.  Giobbe,  Venice,  was  evi- 
dently decorated  by  some  one  who  was  enamoured  of  the  Cappella  di  S. 


214 


LUCA  DELLA  ROBBIA 


Jacopo  at  S.  Miniato.  Both  chapels  contain  altarpieces  designed  by  An- 
tonio Rossellino  and  have  vaulted  ceilings  designed  by  Luca  della  Robbia. 
The  ceilings  in  both  cases  are  of  the  form  known  as  cul-du-four,  and 
contain  a central  medallion  tangent  to  which  are  four  medallions,  one  at 
each  angle  of  the  vault  (Fig.  138).  The  frames  of  these  medallions  have 
almost  identical  mouldings,  but  at  Venice  fruit  garlands  are  substituted  for 
the  scale  pattern  used  at  S.  Miniato.  Between  the  medallions  in  both 


Fig.  138.  Ceiling  at  S.  Giobbe. 


cases  are  square  tiles,  similarly  set  and  adorned  with  a diaper  pattern  of 
cubes  the  visible  sides  of  which  are  green,  yellow,  and  violet.  In  Florence 
the  central  medallion  is  set  with  reference  to  the  axes  of  the  vault,  in 
Venice,  somewhat  unexpectedly,  with  reference  to  the  diagonals  of  the 
vault.  The  remaining  medallions  in  both  cases  are  set  with  reference  to 
the  diagonals,  with  this  difference  : in  Florence  the  four  Virtues  are  arranged 
in  pairs  facing  each  other  ; in  Venice  of  the  four  Evangelists  two  happen 


LUCA  DELLA  ROBBIA 


215 


to  face  each  other,  the  other  two  are  back  to  back.  There  is  evidently  no 
studied  order  in  their  arrangement. 

The  church  of  S.  Giobbe  was  begun  in  1462,  but  the  decoration  of  the 
chapel  of  S.  Giovanni  is  usually  set  in  the  following  decade.  The  extreme 
limit  may  be  fixed  by  the  death  of  Antonio  Rossellino  in  1478  and  of  Luca 
della  Robbia  in  1482. 


(1).  God  the  Father.  Photo.,  Burton  & Co. 

The  central  medallion  (Fig.  139)  represents  God  the  Father  rising 
from  the  clouds  in  a heaven  distinguished  by  concentric  blue  bands,  which 
darken  toward  the  periphery.  He  is  blessing  with  his  right  hand  and  in 


Fig.  139.  Medallion  of  God  the  Father. 


his  left  holds  an  open  book  inscribed  A H.  He  wears  a cruciferous  halo. 
About  him  are  seven  cherubs,  which  would  be  more  charming  if  relieved 
from  the  daubs  of  gilt  upon  their  heads  and  wings.  Both  Creator  and 
cherubs  are  feebler  productions  than  those  of  Luca  della  Robbia  in  the 
Peretola  tabernacle,  and  betray  the  hand  of  an  assistant. 

The  frame  consists  of  an  inner  series  of  three  mouldings,  an  inter- 
mediate fruit  frieze,  and  exterior  leaf  and  dart  as  well  as  a pearl  moulding. 


2l6 


LUCA  DELLA  ROBBIA 


We  have  already  noted  the  identity  of  the  architectural  mouldings  with  those 
of  the  medallions  in  the  Portogallo  Chapel  at  S.  Miniato.  The  fruit 
frieze  is  divided  into  fourteen  sections,  consisting  of  three  series  of  oranges, 
grapes,  quinces,  pine  cones,  and  one  of  citrons  and  pine  cones.  Each 
section  is  connected  with  the  next  by  a white  band,  and  consists  of  three 
pieces  of  fruit,  arranged  two  at  the  base  and  one  above,  or  one  at  the 
base  and  two  above — an  arrangement  which  became  conventional  with 
Andrea  della  Robbia.  The  fruit  and  leaves  are  finely  modelled  and  re' 
semble  those  of  the  Pazzi  and  Serristori  stemmi.  The  motion  in  all  five 
medallions  is  the  reverse  of  that  of  the  hands  of  a clock. 


(2).  S.  Giovanni.  Photo.,  Burton  & Co. 

S.  Giovanni  and  his  symbolic  eagle  (Fig.  140)  are  in  the  clouds  against 
a blue  sky.  He  wears  a nimbus  with  gilded  border.  His  hair  and  the 


Fig.  140.  Medallion  of  S.  Giovanni  Evangelista. 


borders  of  his  robe  are  also  gilded.  He  has  not  the  nobility  of  the  S.  Gio- 
vanni on  the  wall  of  the  Pazzi  Chapel,  nor  the  force  of  the  S.  Giovanni  of 
the  bronze  sacristy  doors.  Either  Luca  has  grown  feeble,  or  has  entrusted 
much  to  his  assistant  in  the  design  of  this  group.  The  mouldings  of  the 


LUCA  DELLA  ROBBIA 


217 


frame  and  the  composition  of  the  fruit  frieze  are  practically  identical  with 
that  of  the  central  medallion.  As  in  the  Serristori  palace  stem  ini,  and 
elsewhere,  light  and  dark  coloured  fruits  are  set  in  rhythmic  alternation. 
The  lack  of  calculation  of  the  dimensions  of  the  fourteen  sections  neces- 
sary to  complete  the  circle  is  rendered  obvious  by  the  placing  directly  above 
the  Evangelist’s  head  the  section  which  had  to  be  cut  down  to  one  pine  cone. 


(3).  S.  Luca.  Photo.,  Burton  & Co. 

As  compared  with  the  stately  S.  Luca  of  the  bronze  sacristy  doors  this 
S.  Luca  (Fig.  141)  is  somewhat  sentimental,  though  well  modelled,  espe- 
cially in  the  features  of  the  head  and  the  expressive  hands.  The  symbolic 
ox,  though  somewhat  mild,  is  more  naturalistic  than  that  on  the  bronze 
doors.  The  background  in  all  five  medallions  is  more  markedly  concave 


Fig.  141  Medallion  of  S.  Luca. 


than  in  the  medallions  at  S.  Miniato.  The  clouds  are  in  high  relief.  In 
the  frame  the  series — quinces,  pine  cones,  oranges  and  grapes — is  repeated 
three  times.  Additional  sections  with  three  citrons  and  two  pine  cones 
are  set  directly  above  the  head  of  the  Evangelist. 


2l8 


LUCA  DELLA  ROBBIA 


(4).  S.  Matteo.  Photo.,  Burton  & Co. 

S.  Matteo  (Fig.  142)  is  the  finest  of  the  five  medallions,  not  unworthy 
of  the  sculptor  of  the  S.  Matteo  on  the  wall  of  the  Pazzi  Chapel  or  on 
the  bronze  door  of  the  sacristy  of  the  Cathedral.  Although  documentary 
evidence  is  lacking,  it  seems  reasonable  to  believe  that  the  order  for 
this  ceiling  was  given  to  Luca  della  Robbia  at  a time  when  he  was  well 
advanced  in  years  and  dependent  in  large  measure  upon  his  assistants. 


Fig.  142.  Medallion  of  S.  Matteo. 


There  is  more  of  Luca  than  of  Andrea  in  this  medallion.  The  frame  re- 
sembles the  other  frames.  A section  with  three  citrons  and  another  with 
two  pine  cones  are  immediately  above  the  Evangelist’s  head,  then  follows 
the  series,  quinces,  pine  cones,  oranges  and  grapes,  repeated  three  times. 

(5).  S.  Marco.  Photo.,  Burton  & Co. 

S.  Marco  (Fig.  143)  resembles  S.  Luca  in  type.  In  fact  in  general 
we  find  less  individuality  in  these  four  Evangelists  than  in  those  of  the 
bronze  sacristy  doors.  As  compared  with  the  bronze  Evangelists,  the  hair 
is  here  more  plastic,  the  eyebrows  more  prominent,  and  the  eyelids  are 
exhibited  more  fully.  The  lion  is  of  a different  type,  less  like  the  Marzocco. 


LUCA  DELLA  ROBBIA 


219 


The  frame  shows  the  fourteen  sections  of  fruit  fully  developed.  In  no 
case  was  it  necessary  to  diminsh  the  size  of  a section  in  order  to  make 
it  fit  in  the  circle. 


Fig.  143.  Medallion  of  S.  Marco. 

BIBLIOGRAPHY 

Bode.  /.  k.  p.  K.,  XXI  (1900),  10;  Denkm,,  65,  Taj.  238;  FI.  Bildh.,  123;  FI.  Sc.,  85; 

Burckhardt,  327-428;  Burlamacchi,  47,  118;  Cavallucci  et  Molinier,  256, 
No.  325  Cruttwell,  77,  note  1,  356;  de  Foville,  76-79;  V.  Lazari,  77; 
Mothes,  II,  80;  Reymond,  D.  R.,  91,  141;  Sc.  FI.,  205,  214-215,  242. 
Schmarsow,  A.  S.  A.,  IV  (1891),  234;  Schubring,  64,  Abb.  63;  Selvatico, 
236;  Venturi,  VI,  623. 


61  THE  KREFELD  ADORATION.  Krefeld,  Kaiser- VVilhelm-Mu- 
seum.  H.,  0.73  m. ; W.,  0.50  m.  Photo.,  private. 

This  charming  relief  (Fig.  144)  was  purchased  in  Florence  by  Herr 
Adolph  von  Beckerath,  who  in  1898  sold  it  to  the  Kaiser-Wilhelm-Museum 
in  his  native  town.  It  is  a very  unusual  presentation  of  a theme  destined 
to  become  almost  commonplace  in  later  Robbia  productions.  The  well  pro- 
portioned Child,  playing  with  his  light  drapery,  reclines  on  a bed  of  light 
green  hay  set  upon  a solitary  gray  rock,  as  if  on  the  top  of  a lofty  mountain 
near  the  sky.  Beside  him  kneels  the  Madonna,  her  beautiful  hands  folded 


220 


LUCA  DELLA  ROBBIA 


reverentially  above  him.  Behind  him  stand  two  angels,  their  hands  folded 
across  their  breasts,  while  in  the  heaven  above  are  four  more  angels  in 
the  midst  of  clouds  and  absorbed  in  adoration. 

Of  the  usual  accompaniments  of  a Nativity  few  are  represented  here. 


Fig.  144.  The  Krefeld  Adoration. 


There  is  no  S.  Giuseppe,  no  cave  or  stable,  no  ox  or  ass,  no  shepherds ; even 
the  angels  sing  no  Gloria  in  Excelsis. 

It  may  be  noted  that  the  Madonna’s  eyes  have  violet  brows,  upper 
lashes,  and  iris  boundary,  but  no  mark  or  colour  for  pupil  or  iris. 

BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  XXI  (1900),  23;  Denkm.,  74,  Taf.  230;  FI.  Bildh.,  144;  FI.  Sc.,  10 2; 

Cruttwell,  164-  165,  325;  Deneken,  1 Ber.,  II  (1904),  13-15,  Taf.  1; 
Marquand,  A.  J.  A.,  IX  (1894),  25  note  1;  Schubring,  87,  Abb.  95; 
Tschudi,  82-83,  Taf.  58. 


LUCA  DELLA  ROBBIA 


221 


62  THE  KAHN  NATIVITY.  New  York.  Collection  of  Mr.  Otto  Ii. 
Kahn.  H.,  0.5S  m. ; W.,  0.50  m.  Photo.,  private. 

This  relief  (Fig.  145)  represents  a moment  subsequent  to  the  Nativity, 
when  S.  Giuseppe  and  S.  Maria,  the  ox  and  ass,  and  the  angels  of  heaven 
unite  in  adoration  of  the  Child.  As  a composition  it  is  not  well  balanced. 


Fig.  145.  The  Kahn  Nativity. 


The  large  brown  wicker  basket  of  light  green  hay  upon  which  the  Child 
rests  is  set  so  far  to  the  left  as  to  leave  scant  room  for  so  important  a 
figure  as  S.  Giuseppe.  Nor  are  the  ox  and  ass  sufficiently  differentiated. 
The  four  angels  are  grouped  in  pairs  above  somewhat  splashy  clouds.  The 
Child,  playing  with  his  drapery  and  gazing  out  upon  the  world,  is  very 
similar  to  that  in  the  Ivrefeld  Adoration.  The  Madonna  also  and  the  angels 
resemble  those  of  the  Krefeld  relief.  Their  eyes  show  blue  irises  and  dark 


LUCA  DELLA  ROBBIA 


2 22 

brows,  lashes  and  pupils.  These  two  works  may  be  classed  together  as 
equally  representative  of  the  spirit  of  Luca  della  Robbia,  though  possibly  not 
entirely  his  own  handiwork. 


BIBLIOGRAPHY 

Bode,  Denkm.,  1 77,  Taf.  548;  Z.  f.  b.  K.,  XXI  (1910),  306-307;  Marquand,  D.  R.  A., 
16.  Fig.  7. 


CHAPTER  VI 

MANNER  OF  LUCA  DELLA  ROBBIA 


CHAPTER  VI 


MANNER  OF  LUCA  DELLA  ROBBIA 

63  STUCCO  RELIEF  OF  THE  TRUMPETERS.  London,  Victoria 
and  Albert  Museum.  No.  7609,  '61.  H.,  0.53  m. ; W.,  0.53  m. 

Photo.,  private. 

This  relief  (Fig.  146)  was  purchased  by  Signor  Gigli  at  the  Rinuc- 
cini  sale  in  Florence,  and  became  part  of  the  Gigli-Campana  Collection. 
According  to  Sir  J.  C.  Robinson,  who  secured  it  for  the  South  Kensington 


Fig.  146.  The  Trumpeters. 


Museum  in  1861,  it  is  executed  in  a “species  of  stucco,  or  rather  unbaked 
clay  mixed  with  size  and  the  cuttings  or  flock  of  cloth,  a material  com- 
monly in  use  with  the  Florentine  sculptors  of  Luca's  time.”  The  material 
is  certainly  to  be  designated  as  stucco,  not  as  clay. 


226 


LUCA  DELLA  ROBBIA 


The  importance  of  the  relief  consists  in  the  claim  made  by  Sir  J.  C. 
Robinson  that  this  is  Luca’s  original  sketch  for  the  relief  of  the  Trumpeters 
for  the  Cantoria;  a claim  which  is  admitted  by  Cavallucci  and  Molinier,  by 
Madame  Burlamacchi,  and  enthusiastically  by  Miss  Cruttwell.  Venturi 
thinks  the  work  a forgery.  In  my  opinion  it  is  not  a modern  forgery,  nor 
the  original  clay  sketch  by  Luca  himself,  but  a stucco  reproduction  dating 
probably  from  the  fifteenth  century.  It  should  be  observed  that  the 
three  heads  to  the  left  are  later  repairs.  Hence  the  proportions  of  these 
figures  may  have  been  originally  more  like  those  of  the  marble  relief.  The 
student,  or  copyist,  was  chiefly  interested  in  the  four  dancing  children, 
which  he  has  reproduced  with  some  freedom  as  well  as  fidelity.  The  first 
trumpeter  in  the  stucco  lacks  the  Ghiberti-like  curves  of  the  mantle  shown 
in  the  marble  relief,  and  his  position  has  changed.  It  is  no  longer  the 
right  leg  which  bears  his  weight,  and  his  left  leg  does  not  well  fulfill  this 
function.  The  exposed  leg  of  the  second  trumpeter  is  not  well  placed. 
The  curved  trumpet  of  the  third  trumpeter  seems  to  return  its  sounds 
into  the  face  of  the  performer.  The  copyist  has  sketched  in  the  hand  of  a 
trumpeter  to  the  right  holding  fast  a small  trumpet,  but  has  not  taken 
pains  to  introduce  a body  or  head  for  this  figure.  The  legs  of  the  second 
trumpeter  to  the  right,  not  altogether  happily  placed  in  the  marble,  are 
exaggeratedly  out  of  place  in  the  stucco. 

These  divergences  do  not  seem  to  imply  that  the  stucco  was  executed 
prior  to  the  marble,  but  rather  that  it  is  the  work  of  a copyist  who  observes 
details  without  having  a firm  grasp  of  the  figures  as  a whole. 

BIBLIOGRAPHY 

Burlamacchi,  78,  119;  Cavallucci  et  Molinier,  18,  note  3,  264;  Cruttwell,  52,  324;  Robin- 
son, 53;  Venturi,  VI,  578,  note  1. 


64  THE  COPENHAGEN  MADONNA.  Copenhagen,  Statens  Museum 
for  Kunst.  H.,  0.395  m- 1 W.,  0.29  m.  Photo,  Museum. 

This  Madonna  (Fig.  147)  was  obtained  from  the  Rumohr  Collection, 
Dresden,  1847  (Cat.  No.  4375).  The  figures  are  white  on  blue  ground. 
The  eyes  have  blue  irises  and  dark  pupils.  The  gold  haloes  may  have 
been  a later  addition. 


LUCA  DELLA  ROBBIA 


227 

The  style  of  this  relief  reflects  the  early  manner  of  Luca  della  Robbia. 
A free  copy,  made  probably  toward  the  end  of  the  fifteenth  century,  is 
in  the  Berlin  Museum. 

BIBLIOGRAPHY 

Bode,  Munch.  Jahrb.,  I (1906),  28,  note. 


Fig.  147.  The  Copenhagen  Madonna. 


65  VARIANT  OF  COPENHAGEN  MADONNA.  Berlin,  Kaiser- 
Friedrich-Museum,  No.  76  (Old  No.,  1 1 5 B).  H.,  0.41  m. ; 

W.,  0.32  m.  Photo.,  Museum. 

This  relief  was  presented  to  the  Museum  in  1905  by  the  Kaiser- 
Friedrich-Museum-Verein.  The  background,  as  well  as  the  figures,  was 
originally  covered  with  a white  glaze,  which  at  a later  period  was  super- 
ficially painted.  It  is  very  unlikely,  as  Fraiilein  Schottmiiller  suggests, 
that  the  white  glaze  was  intended  as  a foundation  for  superficial  colouring. 
Andrea  della  Robbia’s  white  glazed  statue  of  S.  Francesco  at  Assisi  and 
other  Robbia  works  were  similarly  superficially  painted  at  a later  period. 
It  is  more  likely  that  the  original  glaze  was  a failure,  as  Dr.  Bode  suggests, 
or  that  it  became  injured,  or  that  some  owner  had  a preference  for  poly- 
chromatic sculpture. 


228 


LUCA  DELLA  ROBBIA 


This  Madonna  is  a variant  of  the  Madonna  in  the  Museum  at  Copen- 
hagen. The  Child  here  is  draped  and  is  more  playfully  posed.  It  may  also 
be  observed  that  both  Mother  and  Child  have  gilded  haloes. 

BIBLIOGRAPHY 

Bode,  Munch.  Jahrb.,  I (1906),  28,  note;  Schottmiiller,  34-35,  No.  76  (K.  F.  M.  V.), 
Abb.  76;  3.  k.  p.  K.,  XXVII  (1906),  225,  227. 

66  THE  ALESSANDRI  MADONNA.  Berlin,  Kaiser-Friedrich- 
Museum,  No.  79  (Old  No.,  1 1 3 ) . H.,  0.83  m. ; W.,  0.925  m. 

Photo.,  Museum. 

This  relief  (Fig.  148)  was  purchased  in  1883  from  Conte  Alessandri, 
Florence.  It  is  unglazed  and  uncoloured,  and  was  intended,  apparently, 
to  crown  the  entrance  to  a Gothic  chapel.  As  in  the  lunette  from  S.  Pierino, 


Fig.  148.  The  Alessandri  Madonna. 


the  Child  is  posed  to  the  left,  the  angels  are  on  a smaller  scale  than  the 
Madonna  and  Child,  and  their  draperies  are  treated  with  a Ghiberti-like 
swing.  When  we  recall  that  a Niccolo  Alessandri  was  one  of  the  deputies 
charged  with  the  supervision  of  Luca’s  Cantoria  from  1432-1435  we  are 
tempted  to  classify  this  relief  with  the  early  works  of  Luca  della  Robbia, 
but  its  execution  betrays  the  work  of  a more  nervous  and  less  sedate  artist, 
who  nevertheless  was  strongly  inspired  by  Luca  della  Robbia,  especially 
by  the  medallions  of  the  Pazzi  Chapel. 


LUCA  DELLA  ROBBIA 


229 


BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  VII  (1885),  179,  180;  A.  S.  A.,  II  (1889),  8;  It.  B.  Ren.,  71-72; 

J.  k.  p.  K.,  XXI  (1900),  24-25;  Denkm.  75,  Taf.  218,  FI.  Bildh.,  147-149, 
Abb.  79;  FI.  Sc.,  104-105;  Bode  und  Tschudi,  No.  113,  Taf.  5;  Burla- 
macchi,  83,  121;  Cavallucci  et  Molinier,  34,  260,  No.  346;  Cruttwell, 
I33-i34.  332;  Marquand,  A.  J.  A.,  IX  (1894),  9;  Reymond,  D.  R.,  124- 
125;  Sc.  FI,  II,  234;  Schottmuller,  35-36,  No.  79  (I,  139);  Schubring, 
76,  79,  Abb.  75;  Venturi,  VI,  554,  fig.  370;  La  Madonna,  31. 

67  THE  MADONNA  AND  SIX  ANGELS,  Louvre.  Paris,  Louvre, 
No.  420.  PI.,  0.38  m. ; W.,  0.37  m.  Photo.,  Alinari,  No.  22375. 

This  relief,  from  the  Campana  Collection,  was  evidently  designed  as 
a medallion  and  transformed  into  rectangular  shape  (Fig.  149).  Other 
medallions  of  the  same  subject  are  found  in  the  Courajod,  and  in  the 
Gustave  Dreyfus  collections,  Paris,  the  L.  Mond  Collection,  London;  the 
Kaiser-Friedrich-Museum,  Berlin;  the  Museo  Industrial,  Rome;  and  in 
the  J.  P.  Morgan  Collection,  New  York. 


Fig.  149.  Madonna  and  six  Angels,  Louvre. 


The  Ghiberti-like  character  of  the  composition,  and  the  general  resem- 
blance to  Luca  della  Robbia’s  Cantoria  reliefs,  especially  to  that  of  the 
Trumpeters,  has  led  to  the  attribution  of  this  relief  to  Luca  della  Robbia. 
But  it  may  be  observed  that  the  art  of  perspective  is  here  more  advanced 
than  in  the  Trumpeter  relief,  the  modelling  is  inferior  to  Luca’s,  and  that 
all  of  the  medallions  are  apparently  cast  from  the  same  mould  and  do  not 
show  the  variations  of  details  characteristic  of  the  replicas  of  Luca’s  work. 
This  identity  of  details  leads  us  to  suspect  that  these  plaques  are  modern. 


230 


LUCA  DELLA  ROBBIA 


BIBLIOGRAPHY 

Bode,  J.  k.  />.  K.,  XXI  (1900),  26;  Denkm.  75,  Taf.  192;  FI.  Bildh.,  152-15 3;  FI.  Sc.,  106; 

Burlamacchi,  85-86;  Cavallucci  et  Molinier,  281,  Xo.  473,  note  1;  Crutt- 
well,  132;  Marquand,  A.  J.  A.,  IX  (1894),  6,  PI.  1;  Phillips,  99;  Reymond, 
D.  R.,  127;  Sc.  FI.,  II,  233;  Schubring,  84,  Abb.  88;  Venturi,  VI, 
555,  Fig.  371. 


68  THE  MADONNA  AND  SIX  ANGELS,  Courajod  Collection. 
Paris,  Collection  of  the  late  Professor  L.  C.  J.  Courajod. 
Diam.,  0.34  m. 

When  I saw  this  medallion,  some  years  ago,  it  was  painted  with  bronze 
paint,  to  imitate  bronze. 

BIBLIOGRAPHY 

See  under  No.  67. 


69  THE  MADONNA  AND  SIX  ANGELS,  Dreyfus  Collection.  Paris, 

Collection  of  M.  Gustave  Dreyfus.  Diam.,  0.34  m. 

This  medallion,  of  unglazed  terra-cotta,  was  formerly  in  the  collection 
of  Sir  J.  C.  Robinson,  London. 

BIBLIOGRAPHY 

See  under  No.  67;  also  Paul  Vitry,  Lcs  Arts,  No.  72  (Dec.,  1907),  2,  16. 

70  THE  MADONNA  AND  SIX  ANGELS,  Mond  Collection.  London, 

Collection  of  the  late  Dr.  Ludwig  Mond.  Diam.,  0.34  m. 

This  medallion,  of  unglazed  terra-cotta  was  formerly  in  the  collection 
of  Lady  Eastlake. 

BIBLIOGRAPHY 

See  under  No.  67. 

71  THE  MADONNA  AND  SIX  ANGELS,  Berlin  Museum.  Berlin, 

Kaiser-Friedrich-Museum.  Diam.,  0.345  m. 

This  medallion,  of  unglazed  terra-cotta  gilded,  was  formerly  in 
Florence,  then  in  the  collection  of  Herr  Adolph  von  Beckerath,  Berlin. 

BIBLIOGRAPHY 

See  under  No.  67;  also  Tschudi  82,  Taf.  58;  Schottmuller,  38,  No.  88  (I,  2957),  Abb.  88. 


LUCA  DELLA  ROBBIA 


231 


72  THE  MADONNA  AND  SIX  ANGELS,  Museo  Industriale.  Rome, 
Museo  Industriale.  Diam.,  0.34  m. 

A medallion,  of  unglazed  terra-cotta  similar  to  the  preceding. 

BIBLIOGRAPHY 

See  under  No.  67. 


73  THE  MADONNA  AND  SIX  ANGELS,  Lanz  Collection.  Amster- 

dam, Professor  Dr.  O.  Lanz  Collection.  Diam.,  0.34  m. 

A medallion  of  unglazed  terra-cotta,  similar  to  the  preceding,  but 
with  slight  modifications  of  the  facial  types. 

BIBLIOGRAPHY 

See  under  No.  67. 

74  THE  MADONNA  AND  SIX  ANGELS,  J.  P.  Morgan  Collection. 

New  York,  J.  P.  Morgan  Collection,  in  the  Metropolitan  Museum. 
Diam.,  0.46  m. 

This  medallion,  of  unglazed  terra-cotta,  larger  than  the  preceding,  was 
purchased  of  C.  and  E.  Canessa,  Paris.  It  is  the  only  one  of  the  series  which 
shows  the  figure  of  a Dove  above  the  Virgin’s  head.  It  is  also  the  only  one 
of  the  series  with  traces  of  polychromy.  The  Madonna’s  mantle  was  blue, 
and  the  robes  of  the  angels  red.  It  may  be  the  original  from  which  the 
preceding  six  examples  were  copied. 

BIBLIOGRAPHY 

See  under  No.  67;  also  Daniel,  Burl.  Mag.,  XXI  (1912),  283,  PI.  1. 


75  BUST  OF  A BOY.  Florence,  Museo  Nazionale,  No.  75.  PI.,  0.33  m. 

Photo.,  Brogi,  No.  9467. 

This  charming  bust  of  a boy  (Fig.  150)  has  suffered  for  lack  of  a 
name  and  proper  attribution.  It  is  sometimes  called  a Giovannino,  but 
there  is  no  haircloth  tunic  to  indicate  the  youthful  S.  John.  Bode  calls 
it  a boy  Christ,  and  Schubring  thinks  it  requires  as  a pendant  a Giovannino, 
like  that  which  passed  from  the  Beckerath  Collection  to  the  Krefeld  Museum. 
This  designation  is  probably  correct,  but  in  the  absence  of  the  corresponding 


232 


LUCA  DELLA  ROBBIA 


pendant,  and  of  all  symbolic  attributes,  the  name  must  remain  somewhat 
uncertain.  It  has  been  attributed  to  Luca,  to  Andrea,  and  even  to  Giovanni. 
As  in  the  entire  range  of  Giovanni’s  productions  there  is  nothing  compar- 
able to  this  bust,  we  may  omit  further  consideration  of  this  attribution. 
Between  Luca  and  Andrea  the  solution  is  more  difficult.  A comparison, 
however,  of  this  head  with  those  of  the  armorial  bearers  of  the  stemma 
of  the  Arte  della  Seta  on  Or  S.  Michele  will  leave  little  doubt  that  the  type 
was  formed  by  Luca  himself.  Andrea’s  cooperation  or  interference  is 


Fig.  150.  Bust  of  a Boy,  Museo  Nazionale. 


indicated  by  the  unusual  colouring  of  the  eyes.  The  eyebrows  seem  origi- 
nally to  have  been  indicated  by  violet  and  then  done  over  again  in  robin’s-egg 
blue.  The  irises  are  yellow,  as  Luca  might  have  painted  them,  but  the 
pupils  are  copper  coloured,  a colour  used  only  by  Andrea.  The  green  tunic 
with  its  raised  border  and  heart  ornament  and  the  fine  blue  mantle  recall 
those  of  the  medallion  of  the  head  of  a youth  in  the  Berlin  Museum  (See 
above.  No.  57). 


LUCA  DELLA  ROBBIA 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXI  (1900),  32;  Mus.  II,  71,  Taf.  137;  Denkm.,  79,  Taf.  228; 

FI.  Bildh.,  216,  Abb.  118;  FI.  Sc.,  147,  PI.  65;  Burlamacchi,  in;  Caval- 
lucci  et  Molinier,  113,  219,  No.  82,  note;  Cruttwell,  155,  325;  Reymond, 
D.  R.,  259,  276;  Sc.  FI..  IV,  64;  Schubring,  123,  Abb.  136;  Supino, 
452,  No.  75. 

76  STEMMA  OF  THE  GINORI  FAMILY.  New  York,  Thomas  F. 
Ryan  Collection.  H.,  0.72  m. ; W.,  0.52  m.  Photo.,  from  Bardac 
Catalogue. 

This  beautiful  stemma  (Fig.  151)  was  formerly  in  the  Maurice  Kann 
Collection,  which  was  sold  in  1910,  and  then  in  the  Sigismond  Bardac 
Collection  recently  dispersed.  The  arms,  azure,  a bend,  or,  charged  with 


Fig.  1 5 1 . Stemma  of  the  Ginori  Family. 

three  eight-pointed  estoiles,  azure,  are  those  of  the  Ginori  family,  many 
of  whom  held  the  office  of  Prior  in  Florence  during  the  fifteenth  and  early 
sixteenth  centuries.  The  putto,  who  alone  supports  the  arms,  is  closely 


234 


LUCA  DELLA  ROBBIA 


related  in  type  to  the  Bust  of  a Boy  just  described  in  the  Museo  Nazionale. 
His  eyebrows,  lashes,  pupils  and  iris  boundaries  are  marked  in  violet,  no 
colour  being  used  for  the  irises  themselves.  The  heavy  scroll  with  its 
seeded  terminals  suggests  the  ornament  on  the  consoles  of  the  Cantoria,  and 
the  imitation  of  porphyry  which  forms  the  background  recalls  the  stemma 
of  Jacopo  dei  Pazzi  in  the  Palazzo  Serristori  and  the  decoration  of  the 
vault  of  the  porch  of  the  Pazzi  Chapel. 

This  relief  may  well  have  been  made  under  the  eye  of  Luca  himself, 
and  in  accordance  with  his  design,  but  the  softened  forms  suggest  the 
handiwork  of  his  nephew  Andrea. 

BIBLIOGRAPHY 

Cat.  Maurice  Kami,  No.  200;  Cat.  Sigismond  Bardac,  No.  30;  Marquand,  Art  in 
America,  1914,  242-246. 


Fig.  152.  Head  of  a Lady,  Museo  Nazionale. 

77  MEDALLION  HEAD  OF  A LADY.  Florence,  Museo  Nazionale, 
No.  73.  Diam.,  0.45  m.  Photo.,  Brogi,  No.  9468. 

This  medallion  (Fig.  152),  in  the  Museo  Nazionale,  evidently  por- 
trays a lady  from  some  aristocratic  family  in  Florence.  The  double 
chaplet  of  pearls  about  her  head,  the  stiff  headdress  with  its  large  brooch, 
and  the  necklace  of  pearls  with  its  pendant,  as  well  as  her  delicate  features, 
indicate  her  high  station.  A somewhat  similar  facial  type  is  seen  in  the 


LUCA  DELLA  ROBBIA 


235 


Clunv  Temperance  and  the  Heilbronner  Prudence,  and  may  be  traced  in 
some  of  the  Madonnas  of  Andrea  della  Robbia.  Mino  da  Fiesole  also 
seems  to  have  been  inspired  by  the  same  lady  when  he  fashioned  the  Ma- 
donna of  the  Salutati  altarpiece  in  the  Cathedral  at  Fiesole.  Her  green 
robe  and  light  blue  mantle,  as  well  as  her  eyes  with  their  violet  brows,  lashes, 
and  pupils,  and  their  copper-coloured  irises  show  this  relief  to  be  closely 
related  to  the  Bust  of  a Boy  in  the  Museo  Nazionale  and  probably  by  the 
same  hand. 

BIBLIOGRAPHY 

Blanc,  Coll.  Thiers,  12-13,  PI-  4',  Bode,  J.  k.  />.  K..  XXI  (1900),  32;  Mus.,  II,  72; 

Denkm.,  79,  Taf.  228;  FI.  Bildh.,  188,  Abb.  82;  FI.  Sc.,  hi;  Burlamacchi, 
in;  Cruttwell,  339;  Schubring,  89,  Abb.  101;  Supino,  451,  No.  73; 
Venturi,  VI,  578,  note  1. 


Fig.  153.  Head  of  a Lady,  Louvre. 


78  MEDALLION  HEAD  OF  A LADY,  Louvre.  Paris,  Musee  du 
Louvre,  Collection  Thiers,  No.  38.  Diam.,  0.56  m.  Photo., 
Giraudon. 

I his  medallion  (Fig.  153)  is  a school  copy  of  the  Florentine  medal- 
lion just  described.  It  is  to  be  found  in  the  room  containing  the  Thiers  Col- 
lection. It  was  illustrated  and  described  by  Charles  Blanc  in  the  Catalogue 
of  the  Thiers  Collection  published  in  1884,  but  has  escaped  the  attention  of 


236 


LUCA  DELLA  ROBBIA 


students  of  Italian  sculpture.  It  was  once  framed  with  a fruit  garland, 
of  which  only  the  pine  cones  now  remain;  the  remainder  of  the  frame  show- 
ing a laurel  wreath  is  a modern  restoration.  It  may  be  noted  that  the 
copyist  has  given  more  emphasis  to  the  fillet  above  the  forehead,  but  has 
omitted  the  necklace.  He  has  also  varied  the  drapery,  substituting  a violet 
for  the  green  robe,  and  showing  a green  lining  to  the  gray-blue  mantle. 
The  character  of  the  tunic  and  mantle  has  also  been  entirely  changed. 
More  reliance  was  placed  on  gilding  for  the  ornaments  of  the  drapery  as 
well  as  for  the  hair.  But  the  principal  element  of  inferiority  is  the  glaze, 
which  is  crude  and  irregular,  and  is  now  flaking  away.  The  colours  of  the 
eves  are  dark  blue  for  the  brows,  lashes  and  pupils,  and  yellow  for  the 
irises,  but  they  are  not  applied  as  Luca  would  have  painted  them. 

BIBLIOGRAPHY 

Blanc,  Coll.  Thiers,  12-13,  PI-  4!  See  also  under  No.  77. 


Fig.  154.  Madonna  of  the  Impruneta  Type, 
von  Dirksen  Collection. 


LUCA  DELLA  ROBBIA 


^37 


79  MADONNA  OF  THE  IMPRUNETA  TYPE,  von  Dirksen.  Berlin, 

Herr  Minister  W.  von  Dirksen  Collection.  H.,  0.44  m. ; YV.,  0.29  m. 
Photo.,  private. 

This  round-headed  relief  (Fig.  154)  was  purchased  from  Professor 
Grassi,  Florence,  who  had  purchased  it  from  a private  collector.  The 
Madonna  follows  the  Impruneta  type.  The  glaze  is  said  by  Dr.  Bode  to  be 
excellent  and  uniform;  the  figures  are  white,  set  against  a blue  ground. 
The  eyes  are  described  as  having  dark  brown  pupils  surrounded  by  a narrow 
circle  of  yellow.  From  these  details  it  would  seem  likely  that  this  replica 
of  the  Impruneta  Madonna  was  made  by  Andrea  della  Robbia.  The  com- 
position, with  cherub  heads  on  either  side,  renders  this  attribution  almost 
certain. 

BIBLIOGRAPHY 

See  under  No.  37,  also  Bode,  FI.  Bildh.,  130;  FI.  Sc.,  91;  Munch.  Jahrb.,  I (1906),  32; 
Schottmuller,  38,  No.  87. 

80  MADONNA  OF  THE  IMPRUNETA  TYPE,  Louvre.  Paris, 

Musee  du  Louvre,  No.  429  (Old  No.,  G.  726).  H.,  0.70  m. ; 

W.,  0.50  m.  Photo.,  Alinari,  No.  22377. 


Fig.  155.  Madonna  of  the  Impruneta  Type.  Louvre. 


238 


LUCA  DELLA  ROBBIA 


This  relief  (Fig.  155)  came  from  the  Campana  Collection.  Its 
damaged  glaze  has  been  repaired  with  white  paint.  In  composition  it 
resembles  the  von  Dirksen  relief,  with  the  addition  of  the  Dove  above  the 
head  of  the  Madonna,  but  is  executed  on  a larger  scale.  The  eyes  have 
blue  brows  and  lashes  and  the  copper-coloured  irises  common  in  Andrea’s 
atelier,  to  which  it  may  be  attributed.  It  retains  one  additional  feature 
common  to  Luca’s  Madonnas,  the  projecting  shelf  which  serves  as  a base. 

BIBLIOGRAPHY 

See  under  No.  37;  also  Bode,  Munch.  Jahirb.,  I (1906),  32;  FI.  Bildh.,  130;  FI.  Sc.,  91; 

Burlamacchi,  85;  Cavallucci  et  Molinier,  275,  No.  433;  Cruttwell,  350; 

Marquand,  A.  J.  A.,  IX  (1894),  23. 


81  MADONNA  OF  THE  IMPRUNETA  TYPE,  Berlin  Museum. 
Berlin,  Kaiser-Friedrich-Museum,  No.  87  (Old  No.,  116  B). 
H.,  0.55  m. ; W.,  0.47  m. 


This  is  a late  copy  in  carta  pesta  of  the  von  Dirksen  or  the  Louvre 
Madonnas  of  the  Impruneta  type  (Fig.  156).  It  was  purchased  in  Florence 

in  1888.  The  copyist  has  taken  no  pains  to 
adapt  the  drapery  at  the  base  to  the  oval 
form.  He  has  modified  the  veil  and  details 
of  the  drapery,  and  has  removed  the  nimbus 
from  the  head  of  the  Child.  This  is  not  so 
much  a reversion  to  the  Impruneta  proto- 
type as  the  removal  of  an  awkward  element 
in  the  composition.  The  wings  of  the 
cherubs  are  somewhat  clumsily  modelled. 
Dr.  Bode  rightly  recognized  this  as  a Luca 
type  before  the  discovery  of  the  Impruneta 
Madonnas. 


Fig.  156.  Madonna  of  the  Impru- 
neta Type,  Berlin  Museum. 


BIBLIOGRAPHY 

Bode,  A.  S.  A.,  II  (1889),  6,  8;  /.  k.  p.  K.,  XXI  (1900),  15;  Denkm.  70,  Taf.  221; 

FI.  Bildh.,  130;  FI.  Sc.,  91;  Burlamacchi,  83,  121;  Cruttwell,  135,  332; 
Marquand,  A.  J.  A.,  IX  (1894),  23;  Reymond,  D.  R.,  123;  Sc.  FI.,  II, 
231-232;  Schottmiiller,  38-39,  No.  87  (I,  144),  Abb.  87;  Schubring, 
64,  81,  Abb.  60. 


LUCA  DELLA  ROBBIA 


239 


82  MADONNA  OF  THE  IMPRUNETA  TYPE,  Gallicano.  Principal 
Street  of  Gallicano,  above  a fountain.  Diam.,  0.40  m.  Photo., 
private. 


This  medallion  (Fig.  157)  is  based  upon  Luca  della  Robbia’s  Ma- 
donnas at  Impruneta.  The  drapery  has  been  slightly  modified  to  adapt 
it  better  to  the  medallion  form.  The  facial  type  re- 
sembles fairly  closely  that  of  the  veil-less  Madonna  at 
Impruneta,  but  here  she  wears  a large  nimbus.  There 


are  no  cherubs  or  Dove,  as  in  the  other  reproductions. 
The  figures  are  white,  against  a blue  background 
framed  with  an  egg  and  dart  moulding.  This  medal- 
lion doubtless  issued  from  the  atelier  of  Andrea  della 
Robbia,  as  did  also  the  large  altarpiece  in  the  church 
of  S.  Jacopo  at  Gallicano. 


Fig.  157.  Madonna 
of  the  Impruneta 
Type,  Gallicano. 


BIBLIOGRAPHY 

Burlamacchi,  67,  114;  Cavallucci  et  Molinier,  235,  No.  186;  Cruttwell,  344;  Marquand, 
A.  J.  A.,  IX  (1894),  23- 


83  MADONNA  OF  THE  IMPRUNETA  TYPE,  Mrs.  Holman  Hunt's 
Collection.  London. 

A Madonna  and  Child,  without  background,  said  to  be  more  or  less 
of  the  Impruneta  type,  is  in  the  collection  of  Mrs.  Holman  Hunt,  London. 


84  MADONNA  OF  THE  IMPRUNETA  TYPE,  Mrs.  Holman  Hunt's 

Collection.  London. 

Another  Madonna  and  Child,  in  medallion  form,  glazed  white  on  blue, 
said  to  resemble  the  Impruneta  Madonnas,  is  in  the  collection  of  Mrs. 
Holman  Hunt,  London. 

BIBLIOGRAPHY 

Cruttwell,  347. 

85  4 HE  CORSINI  MADONNA,  Palazzo  Corsini.  Florence,  Palazzo 

Corsini.  Photo.,  Burton  & Co. 

1 his  medallion  (Fig.  158),  the  property  of  Prince  Don  Tommaso 
Corsini.  may  be  classed  in  type  with  the  Impruneta  and  with  the  Friedrich- 


240 


LUCA  DELLA  ROBBIA 


stein  Madonnas.  It  is,  however,  highly  polychromatic.  The  Virgin’s  robe 
is  violet,  her  mantle  bine  lined  with  turquoise-blue ; her  veil  a still  lighter 
blue.  The  Child’s  robe  is  green,  with  the  sleeve  cuff  a light  blue.  The  hair 
of  both  Madonna  and  Child  are  a light  yellowish  brown.  Their  eyes  have 


Fig.  158.  The  Corsini  Madonna,  Corsini  Collection. 


blue  irises  and  dark  pupils.  Both  wear  haloes.  Possibly  this  is  an  original 
by  Luca  himself,  but  probably  a replica  by  another  hand.  We  find  repeti- 
tions of  this  composition  in  stone,  terra-cotta,  stucco,  and  carta  pesta. 

BIBLIOGRAPHY 

Bode,  FI.  \Bildh.,  150;  Revmond,  Riv.  d'Arte,  II  (1904),  93-100;  Schubring,  81,  Abb.  85. 


86  MADONNA  OF  THE  CORSINI 
TYPE,  Bardini’s.  Florence,  Bardini's. 
Diam.,  0.33  m.  Photo.,  Bardini. 

This  is  a replica  (Fig.  159)  of  the  Corsini 
Madonna,  with  slight  variations  and  with  a 
plain  white  glaze  against  a blue  background. 

BIBLIOGRAPHY 

See  under  No.  85;  also  Bode,  J.  k.  p.  K.,  XXI  (1900), 
18;  Denkm.,  72  81,  Taf.  221;  FI.  Bildh., 
135-136;  FI.  Sc.,  95. 


Fig.  159.  Madonna  of  the  Corsini 
Type.  Bardini's 


LUCA  DELLA  ROBBIA 


241 


87  MADONNA  OF  THE  CORSINI  TYPE,  Ospedale  di  S.  Maria 
Nuova.  On  the  lintel  of  a door  in  the  Ospedale  di  S.  Maria  Nuova. 

The  Madonna  carved  in  stone  on  the  lintel  of  a doorway  in  the 
Hospital  of  S.  Maria  Nuova  (Fig.  160)  is  in  composition  precisely 


Fig.  160.  Type  of  the  Corsini  Madonna.  Ospedale  di  S.  Maria  Nuova. 


like  the  Corsini  Madonna.  The  doorway  is  Brunelleschian  in  type, 
almost  a copy  of  the  entrance  to  the  Pazzi  Chapel.  It  was  probably  carved 
by  some  follower  of  Brunelleschi,  like  Michelozzo,  Lapo  di  Portigiani,  or 
Maso  di  Bartolommeo,  who  was  associated  also  with  Luca  della  Robbia. 
S.  Maria  naturally  took  the  place  of  a coat  of  arms  above  the  door  of  a 
hospital  dedicated  in  her  name. 

BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXI  (1900),  18;  Denkm,  72-73;  FI.  Bildh.,  136;  FI.  Sc.,  95. 

88  MADONNA  OF  THE  CORSINI  TYPE,  Duveen  Bros.  New  York, 
Duveen  Bros.  Diam.,  0.28  m.  Photo.,  private. 

This  reproduction  in  stucco  (Fig. 

161)  was  formerly  in  the  Oscar  Hainauer 
Collection.  The  Madonna’s  tunic  is 
painted  red,  her  mantle  blue,  edged  with 
gold,  her  girdle  white.  Her  hair  was  once 
gilded.  The  Child  wears  a red  sleeved 
tunic,  over  which  is  a white  smock.  His 
halo  is  gold  and  red. 

BIBLIOGRAPHY 

Bode,  Coll,  of  Oscar  Hainauer,  p.  11. 


24  2 


LUCA  DELLA  ROBBIA 


89  MADONNA  OF  THE  CORSINI  TYPE,  v.  Beckerath  Collection. 

Berlin,  Collection  of  Herr  Adolph  von  Beckerath. 

A tondo,  glazed  white  on  blue,  reproducing  the  Corsini  Madonna. 

BIBLIOGRAPHY 

See  under  No.  85- 

90  MADONNA  OF  THE  CORSINI  TYPE,  v.  Beckerath.  Berlin, 

Collection  of  Herr  Adolph  von  Beckerath. 

An  unglazed  terra-cotta  reproduction  of  the  Corsini  Madonna. 

BIBLIOGRAPHY 

See  under  No.  85. 


91  MADONNA  OF  THE  CORSINI  TYPE,  Berlin  Museum,  No.  93 
(I  1722).  Berlin,  Ivaiser-Friedrich-Museum.  H.,  0.39  nr.; 

W.,  0.29  m.  Photo.,  Museum. 

This  reproduction  in  carta  pesta  of  the  Corsini  Madonna  may  have 
been  made  for  some  Knight  of  the  Order  of  the  Crescent,  since  a crescent 
moon  is  set  below  the  Madonna,  as  it  was  below  the  arms  of  Jacopo  dei 
Pazzi  and  of  Rene  d’ Anjou.  The  copyist  in  this  case,  while  retaining 
Luca's  composition  has  failed  to  reproduce  his  facial  types. 

BIBLIOGRAPHY 

Schottmuller,  40,  Abb.  93;  See  also  under  No.  83. 


92  MADONNA  OF  THE  CORSINI  TYPE,  Berlin  Museum.  Diam., 
0.36  m. 

Some  years  ago  the  Berlin  Museum  possessed  an  unglazed  terra-cotta 
reproducton  of  the  Corsini  Madonna  set  in  a frame  resembling  a diamond 
ring — as  if  made  for  some  member  of  the  Medici  family.  In  recent 
catalogues  this  relief  is  omitted. 


BIBLIOGRAPHY 

Bode,  A S.  A.,  II  (1889),  7,  8,  Fig.  3;  See  also  under  No.  85. 


LUCA  DELLA  ROBBIA 


243 


93  MADONNA  OF  THE  CORSINI  TYPE,  Genoa.  S.  Maria  in 
Castello,  Genoa. 

In  one  of  the  compartments  of  the  vault  of  the  cloister  of  S.  Maria 
in  Castello  there  is  a stucco  copy  of  the  Corsini  Madonna,  surmounted  by 
decorative  paintings  by  Justus  de  Allemagna. 

BIBLIOGRAPHY 

Bode,  Denkm.,  81,  note  1;  FI.  Bildh.,  135;  FI.  Sc.,  95;  Schubring,  79. 


94  MADONNA  OF  THE  FRIEDRICHSTEIN  TYPE.  Brussels. 
Formerly  in  the  Somzee  Collection. 

A much  damaged  reproduction  of  the  Friedrichstein  Madonna,  pur- 
chased at  S.  Fiora,  Italy,  and  in  1904  sold  in  the  Somzee  sale  at  Brussels, 
is  said  now  to  have  left  Belgium  for  some  other  country. 

BIBLIOGRAPHY 

See  under  No.  44. 


95  MADONNA  AND  STANDING 
CHILD,  Berlin  Museum.  Berlin, 
Kaiser-Friedrich-Museum,  No.  77 
(Old  No..  116  E).  H.,  0.37.;  W„ 

0.28  m.  Photo.,  Museum. 

This  unglazed,  once  painted  relief  (Fig. 
162)  reflects  Luca’s  mature  style  and  doubt- 
less represents  one  of  his  compositions.  It 
was  purchased  in  Florence  in  1890. 

BIBLIOGRAPHY 
Schottmuller,  35,  Abb.  77. 


Fig.  162.  Madonna,  Berlin  Museum. 


96  MADONNA  HOLDING  NL  DE  CHILD,  Bardini's.  Florence, 
formerly  at  Bardini's.  Photo.,  private. 

I his  stucco  reproduction  (Fig.  163)  may  well  have  been  a copy  of  a 


2 44 


LUCA  DELLA  ROBBIA 


Fig.  163.  Madonna,  Bardini’s. 

Madonna  by  Luca  della  Robbia.  Our  Lady  has  the  sad  expression  seen  in 
Luca's  later  Madonnas,  and  the  Child  has  his  finger  in  his  mouth,  as  in  the 
Madonna  and  Child  with  an  Apple  in  the  Berlin  Museum. 


Fig.  164.  Della  Stufa  Arms. 


97  STEMMA  OF  THE  DELLA  STUFA  FAMILY,  Palazzo  Stufa. 
Florence,  Palazzo  Stufa.  Diam.,  1.80  m.  Photo.,  private. 


LUCA  DELLA  ROBBIA 


245 


This  large  medallion  (Fig.  164)  is  set  upon  the  staircase  wall  of 
the  Palazzo  Stufa,  Florence.  It  displays  the  Della  Stufa  arms : argent, 
two  lions  combatant  or,  in  chief  a cross  couped  gules.  Above  the  shield  is 
a white  Dove  holding  an  inscribed  scroll.  The  fluted  disk  which  serves  as  a 
background  is  glazed  blue.  The  broad  frame,  with  its  eight  sections  of  poly- 
chromatic fruit  bound  by  ribbons  recalls  the  frame  of  the  stemma  of 
Jacopo  dei  Pazzi,  but  is  less  crisp  and  plastic.  The  frame  shows  also 
the  elongated  bead  and  reel  seen  in  the  frame  of  the  Cluny  Justice. 

During  the  latter  half  of  the  fifteenth  century  the  office  of  Prior  was 
held  fourteen  times,  and  that  of  Gonfaloniere  six  times,  by  members  of 
the  Della  Stufa  family. 

BIBLIOGRAPHY 

Burlamacchi,  59,  109;  Ms.  Priorista,  Princeton  Museum  Copy. 


Fig.  165.  Stemma  of  Ruberto  Leoni. 


2 46 


LUCA  DELLA  ROBBIA 


98  STEMMA  OF  RUBERTO  LEONI.  S.  Giovanni  Valdarno,  Palazzo 
Pretorio.  Photo.,  Alinari,  No.  9845. 

On  the  exterior  of  the  Palazzo  Pretorio  at  S.  Giovanni  Valdarno 
there  are  twenty-one  coats  of  arms  in  Robbia  ware  with  tablets  below 
giving  the  name  of  the  Vicarins  or  Commissarius  and  the  date  when  he 
held  office.  The  earliest  of  these  is  that  of  Rnberto  Leoni  (Fig.  165)  who 
held  the  office  in  1463  ; the  latest  is  that  of  Antonio  di  Guglielmo  dei  Pazzi 
dated  1521.  In  the  garlands  which  surround  several  of  these  coats  of 
arms  the  influence  of  Andrea  or  of  Giovanni  della  Robbia  can  be  plainly 
seen.  The  Leoni  arms,  consisting  of  a bend,  two  lions  rampant,  while 
necessarily  heraldic  in  type  are  modelled  with  a keen  sense  of  life' — possibly 
in  the  atelier  of  Luca  della  Robbia. 


99  STEMMA  OF  GIOVANNI  DI  FRANCESCO  TORNABUONI. 
1478-1479.  S.  Giovanni  Valdarno,  Palazzo  Pretorio.  Photo., 
Alinari,  No.  9846. 

The  arms  of  the  Tornabuoni  family  are  described  as  Per  saltire  or 
and  vert,  a lion  rampant  counterchanged,  over  all  an  inescutcheon  of  the 
People  of  Florence.  In  the  centre  of  the  lion  we  may  detect  the  point  where 
the  alternating  green  and  gold  meet  and  cross  each  other.  The  inescut- 
cheon with  the  red  cross  in  a silver  held,  the  Croce  di  Popolo,  is  here 
raised  above  the  centre  of  the  shield  (Fig.  166).  The  lion  with  snubbed 
nose  may  well  be  by  the  same  hand  that  executed  the  stemma  of  Rnberto 
Leoni  in  1463.  Iflere  the  form  of  the  shield  is  slenderer,  less  oval  than 
was  customary  with  Luca  della  Robbia,  and  the  dates  1478,  1479  indicate 
a period  when  Luca,  though  still  alive,  had  little  or  no  share  in  the  products 
of  his  workshop.  Giovanni  di  Francesco  Tornabuoni,  uncle  of  Lorenzo 
de'  Medici,  was  Vicarius  and  Commissarius  at  S.  Giovanni  Valdarno  in 
1478  and  1479.  In  1482  he  became  Gonfaloniere  of  the  Republic  of 
Florence.  Fie  commissioned  Ghirlandaio  to  make  the  well  known  frescoes 
in  the  choir  of  S.  Maria  Novella,  opened  to  the  public  in  1490. 

BIBLIOGRAPHY 


Litta,  vol.  IX;  Wills,  178. 


LUCA  DELLA  ROBBIA 


24  7 


Fig.  166.  Stemma  of  Giovanni  di  Francesco  Tornabuoni. 


100  STEMMA  OF  THE  MARTELLI  FAMILY.  Amsterdam,  Ryks 
Museum.  H.,  1.245  m- ! W.,  0.79  m.  Photo.,  Museum. 

The  Martelli  arms  are  described  as  Gules,  a griffin  segreant  or.  Here 
the  background  was  superficially  painted  purple-violet  for  gules.  The 
griffin  is  glazed  yellow  with  blue  beak  (Fig.  167).  This  a tamer 
creature  than  Donatello  had  designed  for  the  coat  of  arms  of  the  same 
family  and  a little  less  lifelike  than  we  might  expect  from  the  hand  of 


248 


LUCA  DELLA  ROBBIA 


Luca  della  Robbia.  But  it  may  have  issued  from  his  workshop  in  the  late 
seventies,  as  a comparison  with  the  Tornabuoni  arms  would  seem  to 
indicate.  Many  of  the  Martelli  family  held  office  during  the  fifteenth 
century.  Of  these  Braccio  di  Domenico,  who  was  a friend  of  Lorenzo  de' 
Medici  and  married  Costanza  de’  Pazzi,  may  well  have  turned  to  Luca 
della  Robbia  to  execute  his  coat  of  arms.  He  was  a Prior  of  Florence  in 
1479,  and  Gonfaloniere  in  1489. 


BIBLIOGRAPHY 


Litta,  vol.  V;  Priorista,  Princeton  Museum  copy,  452;  Wills,  152. 


LUCA  DELLA  ROBBIA 


249 


101  S.  GIROLAMO  READING.  London,  Victoria  and  Albert  Museum, 
No.  73,  '66.  H.,  0.42  m. ; W.,  0.35  m.  Photo.,  private. 

This  unglazed  terra-cotta  relief  (Fig.  168)  was  purchased  in  1866 
from  the  Gigli-Campana  Collection.  It  was  for  a time  covered  with  a 
brown  wash  to  imitate  bronze,  but  has  been  subsequently  cleaned.  It 
represents  a monk  seated  at  a desk,  transcribing  from  a book  set  before 


Fig.  168.  S.  Girolamo  Reading,  Victoria  and  Albert  Museum. 
him  on  a lectern.  The  motive  is  similar  to  that  of  the  Fathers  of  the  Church 
on  the  bronze  sacristy  doors.  The  type  seems  to  indicate  S.  Girolamo, 
although  the  cardinal’s  hat  and  other  emblems  are  lacking.  Can  this  be  an 
original  by  Luca  della  Robbia?  As  the  modelling  and  flow  of  lines  of 
the  drapery  are  finer  than  those  of  the  corresponding  relief  on  the  bronze 
doors,  it  can  hardly  be  a preliminary  sketch.  As  an  after  study,  whether 
ancient  or  modern,  it  is  certainly  very  thoroughly  in  the  manner  of  Luca 
della  Robbia. 

BIBLIOGRAPHY 

Burlamacchi,  78,  119;  Cavallucci  et  Molinier,  34,  264,  No.  371;  Marcjuand,  D.  R.  A., 
25,  Fig.  10;  Robinson,  54,  No.  7610. 


250 


LUCA  DELLA  ROBBIA 


102  S.  GIROLAMO  READING,  John  G.  Johnson  Collection,  Phila- 

delphia. H.,  0.42  m. ; W.,  0.35  m. 

This  is  an  exact  replica  of  the  relief  representing  S.  Girolamo  in  the 
Victoria  and  Albert  Museum,  without  such  variations  as  we  should  expect 
in  a replica  of  Luca’s  day.  Mr.  Johnson  attributes  his  plaque  to  Bastianini, 
a nineteenth  century  sculptor  who  deceived  the  world  by  his  creations 
in  fifteenth  century  style.  But  Dr.  Bode,  who  was  personally  acquainted 
with  Bastianini  and  his  work,  assures  me  that  this  attribution  is 
inadmissible. 

BIBLIOGRAPHY 

Marquand,  D.  R.  A.,  25. 

103  LUNETTE  OF  GOD  THE  FATHER  BETWEEN  TWO 

ANGELS.  Florence,  Museo  dell’  Opera  del  Duomo.  H.,  0.60  m.  ; 
W.,  1.20  m.  Photos.,  Alinari,  No.  2576;  Brogi,  No.  9690. 

This  lunette  in  the  Opera  del  Duomo  (Fig.  169)  is  cited  as  an 
example  of  the  paintings  on  flat  surfaces  which  Vasari  states  were  under- 


Fig.  169.  Lunette  of  God  the  Father  and  Angels.  Opera  del  Duomo. 

taken  by  Luca  della  Robbia  a short  time  prior  to  his  death.  Some  critics 
attributed  it  to  Alessio  Baldovinetti.  Such  a work  as  this  may  well  have 
been  made  in  the  atelier  of  Luca  della  Robbia  during  the  last  decade  of 
his  life.  The  figure  of  God  the  Father  recalls  Luca’s  representation  on 


LUCA  DELLA  ROBBIA 


251 

the  tympanum  of  the  tabernacle  at  Peretola,  but  is  more  advanced  in  style, 
especially  in  the  modelling  of  the  eyes.  The  open  book  is  more  realistically 
designed,  and  the  A Q less  beautiful  than  at  Peretola.  In  fact  these 
symbols  are  almost  identical  in  form  with  those  in  the  central  medallion  at 
S.  Giobbe.  The  Father’s  face  is  painted  a dark  flesh  colour  like  those  of 
the  polychrome  Evangelists  of  the  Pazzi  Chapel.  His  eyes  have  yellow 
irises  and  violet  lashes.  He  wears  a robe  of  violet,  and  a mantle  of  blue 
lined  green.  The  two  angels  have  hard,  metallic  hair  and  simpering 
expressions.  They  wear  above  their  robes  short  sleeveless  jackets  such 
as  are  found  in  late  fifteenth  and  sixteenth  century  paintings  and  in 
Andrea’s  but  not  in  Luca’s  works.  Both  have  yellow  hair  and  the  face 
of  one  is  darker  than  that  of  the  other — a contrast  to  be  found  also  in 
the  faces  of  the  polychrome  Evangelists  of  the  Pazzi  Chapel.  Colour 
contrast  is  seen  also  in  their  garments.  One  angel  has  a violet  tunic 
beneath  a blue  jacket,  the  other  has  a green  tunic  and  a violet  jacket.  The 
cuffs,  and  the  reverses,  are  also  varied  in  colour. 

We  may  note  that  the  background,  like  that  of  the  Pazzi  Chapel 
Evangelists,  is  a very  light  blue,  and  that  the  clouds  high  above  the 
horizon  are  tinged  with  yellow,  another  indication  of  a late  date  for  the 
lunette.  The  garland  of  the  frame  does  not  begin  at  the  base,  as  in 
the  S.  Pierino  and  Via  dell’  Agnolo  lunettes,  but  hangs  from  the  top,  as 
in  the  later  Robbia  works.  It  consists  of  painted  bunches  of  fruit, 
arranged  like  a succession  of  triangles  in  accordance  with  the  conventional 
compositions  of  Andrea  della  Robbia. 

BIBLIOGRAPHY 

Bode,  Kf.,  23;  Ital.  Bildh.  Ren.,  84;  J.  k.  p.  K.,  XXI  (1900),  11;  FI.  Bildh.,  125;  FI.  Sc., 
86;  Burlamacchi,  46-47,  108;  Cat.  Mus.  d.  Duomo,  21;  Cavallucci  et 
Molinier,  209,  No.  26;  Cruttwell,  232-233,  340;  de  Foville,  83-84;  Rey- 
mond,  D.  R.,  93-94;  Sc.  FI.,  II,  216;  Vasari,  II,  176,  note  3. 

104  POLYCHROME  MEDALLIONS  OF  THE  FOUR  EVAN- 
GELISTS. Florence,  S.  Croce,  Capitolo  e Cappella  di  S.  Andrea 
(Pazzi  Chapel).  Diam.,  1.70  m.  Photos.,  Alinari,  Nos.  2186- 
2189;  Brogi,  Nos.  5855-5858. 

In  the  four  pendentives  of  the  cupola  are  four  large,  highly  poly- 
chromatic medallions  set  in  the  frames  which  Brunelleschi  the  architect 


252 


LUCA  DELLA  ROBBIA 


had  arranged  for  them.  The  effect  produced,  according  to  Schubring,  is 
that  of  four  circular  stained-glass  windows.  The  figures  are  not  cast 
in  large  masses,  but  before  the  baking  were  cut  up  into  a comparatively 
large  number  of  sections.  They  are  coloured  in  vivid,  almost  garish 
hues,  and  the  backgrounds  of  very  light  blue,  or  of  white,  are  most 
unusual.  These  Evangelists  have  been  described  as  if  arranged  in  pairs, 
facing  each  other.  This,  however,  is  hardly  the  case.  If  we  take  our 
stand  at  the  entrance  and  look  toward  the  altar,  we  see  to  the  left 
S.  Giovanni,  to  the  right  S.  Marco,  back  to  back.  If  we  reverse  our 
position  and  look  toward  the  entrance  S.  Matteo  and  S.  Luca  are  also 
back  to  back.  It  is  only  when  we  look  in  the  less  significant  north  and 
south  directions  that  the  figures  may  be  said  to  face  each  other.  In  the 
arrangement  of  the  Evangelists  on  the  bronze  sacristy  doors,  and  in 
the  church  of  S.  Giobbe,  Venice,  we  see  no  fixed  order  of  succession  and 
no  attempt  to  pose  the  figures  in  artistic  groups.  Each  Evangelist,  here 
as  elsewhere,  forms  an  independent,  unrelated  whole. 

In  style  and  execution  these  Evangelists  are  so  different  from  the 
Apostles  on  the  side  walls  of  the  same  chapel  as  to  suggest  that  they 
are  by  a different  hand.  K.  E.  von  Liphart,  some  years  ago,  suggested 
that  they  may  have  been  designed  by  Brunelleschi  and  glazed  by  Luca 
della  Robbia.  This  hypothesis  has  found  considerable  favour,  but  breaks 
down  when  a careful  comparison  is  made  with  the  few  sculptural  remains 
left  by  Brunelleschi.  Brunelleschi  died  in  1446,  and  these  Evangelists 
in  design  and  execution  appear  to  have  been  made  by  another  hand  and  at 
a later  date.  Moreover,  the  combination  of  colours  and  the  colour  scale 
are  not  those  of  Luca  della  Robbia.  So  we  must  abandon  the  Liphart 
hypothesis.  Marcel  Reymond  offers  a different  solution,  the  medallions 
were  made  by  Luca  della  Robbia  toward  the  end  of  his  life,  between 
1470  and  1480.  This  implies  that  at  this  period  Luca  completely  changed 
his  style.  Such  changes  as  the  following  would  have  to  be  explained. 
These  medallions  are  broken  up  into  sections  on  a different  plan  from 
Luca’s ; moreover,  they  are  in  flat  planes,  not  concave  as  Luca  would  have 
designed  them  in  decorating  a vault;  the  facial  types  are  Semitic,  not 
Italian  as  are  Luca’s;  the  bodily  structure  is  differently  conceived  and 
expressed;  the  drapery  is  conventionalized  in  a different  manner;  the  ox 
and  the  lion  exhibit  more  power  than  Luca  would  have  given  them ; the 


LUCA  DELLA  ROBBIA 


253 

eagle  is  treated  in  a more  heraldic  and  conventional,  less  naturalistic 
manner  than  Luca’s;  and  the  angel,  flat  and  uninteresting,  is  Luca’s  neither 
in  type  nor  in  execution.  The  colouring,  especially  the  white,  or  very  light 
blue,  backgrounds  and  the  great  masses  of  vivid  green,  is  in  striking 
contrast  to  the  colour  scheme  which  Luca  had  employed  all  his  life,  even 
in  the  medallions  of  1463  and  1467.  Hence  we  may  conclude  that  these 
Evangelists  are  not  by  the  hand  of  Luca,  but  were  designed  by  some  other 
sculptor  of  different  tastes  and  trained  in  another  school.  It  seems  likely, 
however,  that  Luca,  with  his  many  commissions  for  the  Pazzi  family  and 
his  employment  in  the  Pazzi  Chapel,  would  have  been  asked  to  decorate 
these  as  well  as  the  similar  spaces  on  the  side  walls.  I have  already  sug- 
gested that  Luca  may  have  originally  intended  to  fill  these  spaces  with 
figures  of  the  four  cardinal  virtues ; but  either  they  were  never  put  in 
place,  or  the  setting  of  them  was  accompanied  by  some  disaster.  Cer- 
tain it  is  that  the  medallions  of  the  Evangelists  are  now  held  in  place  by 
iron  clamps  such  as  Luca  della  Robbia  never  found  it  necessary  to  employ. 
A detailed  examination  of  these  medallions  will  show  them  to  be  of 
a later  date  than  the  medallions  of  the  side  walls.  They  were,  however, 
probably  in  place  before  the  year  1469. 


Fig.  170.  S.  Giovanni  Evangelista. 


254 


LUCA  DELLA  ROBBIA 


(i).  S.  Giovanni  Evangelista.  Photos.,  Alinari,  No.  2187;  Brogi, 
No.  5857. 

The  Evangelist  (Fig.  170)  is  seated  in  the  heavens  as  if  on  the  ground, 
a pose  which  does  not  occur  in  sculpture  before  the  middle  of  the  quattro- 
cento. Tie  copies  intently  in  a book  from  the  Gospel  displayed  to  him  by 
the  symbolic  eagle  as  a divine  messenger.  His  nimbus,  bent  out  of  its 
original  plane  to  cover  his  head,  was  glazed  yellow,  and  has  recently 
received  additional  decoration.  His  hair  is  gray,  his  face,  as  in  late 
Robbia  works,  a light  flesh  colour,  his  robe  green,  lined  violet,  his  mantle 
blue,  lined  yellow.  From  his  body  golden  rays  spread  in  all  directions, 
grouped  as  in  those  of  the  wall  medallions.  His  face  is  that  of  an  older 
man  than  the  S.  Giovanni  represented  in  the  medallion  on  the  chapel  wall, 
and  his  drapery  is  simpler,  more  like  that  on  the  bronze  sacristy  gates.  The 
black  eagle,  standing  in  empty  space,  has  not  even  a cloud  on  which  to  rest 
his  feet.  His  plumage  is  more  metallic  and  conventional  than  that  in  the 
wall  medallion,  more  so  than  that  of  the  less  stately  eagle  of  the  bronze 
doors.  The  very  light  background,  not  a Robbia  blue,  has  very  light  clouds 
scattered  through  it. 


Fig.  1 7 1 . S.  Marco. 


LUCA  DEL.  LA  ROBBIA 


255 


(2).  S.  Marco.  Photos.,  Alinari,  No.  2186;  Brogi,  No.  5855. 

S.  Marco  (Fig.  1 7 1 ) seated  on  very  light  blue  clouds  against  a white 
background  resplendent  with  golden  rays  of  light,  is  transcribing  his 
Gospel,  although  it  may  be  noticed  that  the  open  book  held  by  the  sym- 
bolic lion  displays  blank  pages.  His  robe  is  white  lined  with  green,  his 
mantle  green  lined  with  violet.  S.  Marco  has  dark  hair,  permanently 
glazed,  dark  eyebrows,  pupils,  and  lashes,  and  yellow  irises.  His  com- 
plexion is  more  heavily  tinted  than  that  of  S.  Giovanni.  The  lion,  recalling 
somewhat  the  Marzocco,  a huge  creature  emerging  from  the  clouds,  is 
coloured  a tawny  brown.  This  is  a quite  different  S.  Marco  from  that  of 
the  bronze  sacristy  doors. 


Fig.  172.  S.  Matteo. 


(3).  S.  Matteo.  Photos.,  Alinari,  No.  2189;  Brogi,  No.  5856. 

S.  Matteo  (Fig.  172)  is  seated  upon  the  clouds  with  legs  crossed, 
a motive  which  displays  the  top  of  one  foot,  the  sole  of  another.  He 
gazes  intently  upon  what  he  has  written,  although  the  photograph  enables 
us  to  see  that  the  page  is  blank.  His  halo  has  been  redecorated;  his  hair 
is  not  unlike  that  of  the  same  Evangelist  on  the  bronze  sacristy  doors ; 
his  robe  is  blue  lined  with  violet;  his  mantle  displays  a large  mass  of 


256 


LUCA  DELLA  ROBBIA 


white  and  is  lined  with  green.  The  angel  compares  most  unfavorably 
with  the  angel  of  S.  Matteo  on  the  side  wall,  or  with  that  of  the  bronze 
sacristy  doors,  being  scantily  modelled  and  having  very  flat  and  uninter- 
esting wings.  She  has  light  yellow  hair,  a green  robe,  white  sleeves, 
a blue  mantle  lined  with  yellow,  and  carries  an  ink  pot  similar  in  form 
to  that  in  the  corresponding  relief  on  the  side  wall.  It  may  be  noticed 
that  the  sky  is  not  a uniform  blue,  that  the  clouds  are  not  confined  below 
the  two  figures,  but,  as  in  the  later  reliefs  of  the  school,  are  scattered 
throughout  the  sky.  This  is  a sure  index  of  a late  date. 


Fig.  173.  S.  Luca. 


(4).  S.  Luca.  Photos.,  Alinari,  No.  2188;  Brogi,  No.  5858. 

As  compared  with  the  same  Evangelist  on  the  bronze  sacristy  doors 
this  S.  Luca  (Fig.  173)  is  more  realistic  and  of  a coarser  type.  This  is 
not  what  we  should  expect  of  Luca  della  Robbia,  whose  creations  in  general 
increased  steadily  in  refinement  and  grace.  The  symbolic  ox  far  surpasses 
in  dignity  and  naturalism  the  donkey-headecl  ox  of  the  bronze  sacristy 
doors.  S.  Luca  has  grayish  hair;  gray  eyebrows,  brown  pupils,  yellow 
irises.  Like  that  of  S.  Marco  his  face  is  a rich  flesh  colour.  He 
is  posed  against  a white  background  with  a robe  blue  lined  with  yellow 
and  a mantle  violet  lined  with  green.  The  sole  of  his  left  foot  is  exposed, 


LUCA  DELLA  ROBBIA 


257 


showing  an  awkward  great  toe  The  text  of  the  Gospel  is  illegible,  but 
composed  of  a mixture  of  letters  and  signs  as  in  the  S.  Matteo  medallion 
on  the  side  walls.  The  ox  is  a greenish  brown,  with  white  horns  lightly 
crossed  with  blue.  Schubring  suggests  that  in  this  figure  we  may  have 
preserved  to  us  a portrait  of  Luca  della  Robbia  himself,  a very  unlikely 
supposition. 

BIBLIOGRAPHY 

See  under  No.  25. 


105  the  FORTNUM  MEDALLION,  Oxford.  Ashmolean  Museum, 
Fortnum  Collection,  No.  10.  Stucco.  Diam.,  0.40  m.  Photo., 
C.  T.  Thompson. 

This  stucco  medallion  (Fig.  174)  was  purchased  in  1859  from  Mr. 
James  Jackson  Jarves  by  Mr.  Drury  C.  Fortnum  by  whom  it  was  pre- 


Fig.  174.  The  Fortnum  Medallion. 


sented  to  the  Ashmolean  Museum.  Originally  it  was  highly  polychromatic, 
later  it  was  coated  with  bronze  paint  and  has  come  to  be  regarded  as  a 
cast  from  an  original  bronze.  The  haloes  are  gilded.  On  the  back  is  an 
exceedingly  unusual  type  of  inscription  incised  upon  a roughly  drawn 
crown,  or  basket,  about  which  is  scratched  a circular  frame.  On  the  frame 
are  the  words  formatto  adj  17  dj  ginnaio  1428  (Fig.  175),  on  the  crown 


258 


LUCA  DELLA  ROBBIA 


is  written  form  {at  to ) ncl  (gabine)tto  dj  Nicholo  i(n)  gesso.  The  word 
given  as  gabinetto  certainly  ends  in  tto,  the  preceding  letters  are  enigmatical. 
The  inscription  appears  to  date  from  1428,  possibly  1438  or  1458,  and 
throws  little  or  no  light  upon  the  authorship  of  the  medallion.  There  were 
many  sculptors  named  Niccolo  in  Florence  in  the  fifteenth  century,  such 
as  Niccolo  d’Arezzo,  and  Niccolo  di  Piero  de’  Larnberti,  engaged  in  the 
decoration  of  the  Cathedral;  Niccolo  Baroncelli  and  Niccolo  di  Giovanni 
Cocari,  pupils  of  Donatello;  and  Niccolo  di  Lorenzo  and  Niccolo  di  Baldo- 
vino,  assistants  of  Ghiberti.  But  since  Dr.  Bode  attributed  this  medallion 
to  Luca  della  Robbia,  it  has  become  the  centre  of  controversy.  Schubring 


Fig.  175.  Facsimile  of  inscription. 


and  Venturi  accept  his  conclusions,  while  Marcel  Reymond,  Miss  Cruttwell 
and  de  Foville  reject  them.  Some  years  ago  I accepted  this  as  the  earliest 
dated  work  of  Luca  della  Robbia,  but  I hold  to  this  view  no  longer.  The 
type  of  the  Madonna  and  her  costume  do  indeed  suggest  Luca  della  Robbia, 
but  not  in  his  earliest  period.  The  adoring  angels,  one  in  profile,  the  other 
nearly  en  face,  are  not  what  we  should  expect  from  him  at  any  time.  It  may 
also  be  noted  that  they  are  set  in  a second  plane  behind  the  Madonna, 
whereas  when  Luca  represented  the  Madonna  and  angels  he  set  them  in  a 
single  plane.  Similarly  the  manner  in  which  the  Madonna  is  posed,  seated 
cross-legged  upon  a platform  of  clouds,  is  not  characteristic  of  Luca.  The 
cherub  heads  peering  through  the  clouds  from  various  angles  suggest  Dona- 
tello or  Pollaiuolo  rather  than  Luca  della  Robbia.  For  such  reasons  it  seems 
likely  that  some  sculptor  influenced  by  Luca,  but  not  Luca  himself,  was  the 
designer  of  this  medallion.  Several  repetitions  of  this  composition  are 
known. 


LUCA  DELLA  ROBBIA 


259 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  VI  (1885),  184;  A.  S.  A.,  II  (1889),  7;  J.  k.  p.  K.,  XXI  (1900), 
19-23;  Denkm.,  73,  Taf.  191;  FI.  Bildh.,  138-143,  Abb.  75;  FI.  Sc., 
97-101,  PI.  45;  Riv.  d’Arte,  III  (1905),  1-3;  Burlamacchi,  81;  Cruttwell, 
130-132,  349;  Doering-Dachau,  5,  Abb.  3;  Fortnum,  Athenaeum,  Dec.  18, 
1892;  de  Foville,  43-44;  Hill,  Archaeologia,  1910,  Table  XLVI,  2;  Mar- 
quand,  A.  J.  A,,  IX  (1894),  4-5,  PI.  1;  Michel,  IV,  72;  Phillips,  99; 
Reymond,  D.  R..  m-120;  Sc.  FI.  II,  225-230;  Schubring,  8,  84,  Abb.  89; 
Venturi,  VI,  555. 


Fig.  176.  Replica  of  the  Fortnum  Medallion. 


26o 


LUCA  DELLA  ROBBIA 


106  REPLICA  OF  THE  FORTNUM  MEDALLION,  von  Bulow 
Collection.  Berlin,  Grafin  von  Billow  Collection.  Diam.,  0.42  m. 
Photo.,  private. 

This  relief  (Fig.  176)  was  presented  to  the  Countess  von  Billow 
by  Senatore  Baracco  in  1880.  The  stucco  medallion  is  set  in  wooden 
frame,  on  which  are  Umbrian  or  Sienese  paintings  of  Christ  in  his 
sepulchre  blessing,  and  four  Franciscan  saints.  Unless  retouched,  this 
relief  appears,  at  least  in  part,  better  preserved  than  the  Fortnum  Madonna 
at  Oxford  from  which  it  differs  slightly.  Here  light  streams  from  the 
angels’  heads,  but  they  have  no  circular  nimbuses,  and  apparently  no 
wings.  The  nimbuses  of  Madonna  and  Child  are  highly  decorated  and 
their  faces  are  more  distinct  than  in  the  Fortnum  Madonna.  As  S.  Ber- 
nardino, who  appears  here  with  other  Franciscan  saints,  was  not  canonized 
until  1450  this  frame  does  not  substantiate  an  earlier  date  for  the  relief. 

BIBLIOGRAPHY 

See  under  No.  103;  also  Bode,  Riv.  d'Arte,  III  (1905),  1-3;  FI.  Bildh.,  139. 


107  MEDALLION  OF  THE  FORTNUM  TYPE,  Berlin  Museum. 
Berlin,  Kaiser-Friedrich-Museum,  No.  89.  H.,  0.42  m. ; 

W„  0.375  m. 

This  relief  in  pressed  leather  is  a reproduction  of  the  composition 
represented  by  the  Fortnum  and  von  Billow  medallions,  but  has  been 
arranged  as  a rectangle,  not  a medallion.  The  angels  as  well  as  the 
Madonna  and  Child  are  provided  with  haloes. 

BIBLIOGRAPHY 

See  under  No.  103;  also  Schottmuller,  38,  No.  89  (I,  2414),  Abb.  89. 


108  MEDALLION  OF  THE  FORTNUM  TYPE,  Berlin  Museum. 
Berlin,  Kaiser-Friedrich-Museum,  No.  90.  Diam.,  0.185  m-  (with- 
out frame). 

This  stucco  medallion  is  a small  and  somewhat  remote  reproduction 
of  the  composition  represented  in  the  Fortnum  medallion. 

BIBLIOGRAPHY 

See  under  No.  103;  also  Schottmuller,  39,  No.  90  (I,  2303),  Abb.  90. 


LUCA  DELLA  ROBBIA 


261 


109  MEDALLION  OF  THE  FORTNUM  TYPE,  Florentine  Dealer. 

Fragments  of  a stucco  medallion  of  the  type  of  the  Fortnum  medal- 
lion are  mentioned  by  Dr.  Bode  as  once  in  the  possession  of  a Florentine 
dealer. 

BIBLIOGRAPHY 

See  under  No.  103. 


110  MEDALLION  OF  THE  FORTNUM  TYPE,  Louvre.  Paris 
Musee  du  Louvre,  No.  424.  Diam.,  0.34  m.  Photo.,  Alinari, 
No.  22373. 

This  unglazed,  painted  terra-cotta  medallion  is  a reproduction  with 
slight  variations  of  the  composition  of  the  Fortnum  medallion.  The 
adoring  angels  here  have  no  nimbuses  and  the  Child  has  about  his  head 
a clumsy  radiation.  The  Virgin’s  robe  is  red,  with  gilded  neckband  and 
girdle,  her  mantle  is  blue,  edged  with  gold.  One  of  the  adoring  angels  is 
robed  in  red,  the  other  in  blue.  Of  the  three  cherubs  the  two  lateral 
ones  have  blue  wings,  while  those  of  the  central  cherub  are  red. 

BIBLIOGRAPHY 

See  under  No.  103;  also  Cat.  Spitzer  Coll.,  No.  1287;  Venturi,  VI,  555,  Fig.  372. 


LUCA  DELLA  ROBBIA 


262 

111  THE  ROVEZZANO  MADONNA.  Rovezzano,  S.  Andrea,  Sac- 
risty. H.,  0.455  m- ; W.,  0.38  m.  Photo.,  Burton  & Co. 

In  the  Church  of  S.  Andrea  there  is  to  be  seen  a Madonna  seated  on 
a cushion  in  a garden  holding  a nude  Child  who  is  plucking  lilies  (Fig. 
177).  It  is  said  to  have  been  taken  out  of  the  church  and  “for  safety” 
placed  in  a small  room  reached  through  the  sacristy.  It  may  be  classed  with 
other  seated  figures  which  like  the  Pazzi  Evangelists  and  the  Fortnum 
Madonna  reflect  only  approximately  Luca’s  style.  This  particular  com- 
position was  undoubtedly  popular,  as  several  replicas  and  variants  exist 
in  private  collections.  In  modelling  and  in  glaze  this  example  is  perhaps 
the  worst,  but  being  readily  accessible  it  may  be  taken  as  the  representative 
of  its  class. 

BIBLIOGRAPHY 

Cruttwell,  353. 


Fig.  178.  Madonna  of  the  Rovezzano  Type,  Liechtenstein  Collection. 

112  MADONNA  Oh  I HE 'ROVEZZANO  TYPE,  Liechtenstein  Col- 
lection. Vienna,  Collection  of  Prince  Liechtenstein.  Photo., 
private.  Photo.,  of  cast,  Alinari,  No.  19300. 

This  relief  (Fig.  178)  is  a charming  work  of  art,  far  superior  to  its 


LUCA  DELLA  ROBBIA 


263 


namesake  in  the  purity  of  its  glaze  and  the  crispness  of  its  modelling. 
It  differs  also  in  details,  notably  in  the  turban-like  headdress  of  the 
Madonna.  It  is  also  more  highly  finished  with  its  painted  as  well  as 
sculptured  lilies,  its  decorated  borders  of  the  Madonna’s  robe  and  the 
flowers  which  cover  the  ground  where  she  is  seated.  Her  eyes  have  blue 
pupils  (irises  not  distinguished),  and  blue  brows  and  lashes,  whereas  the 
eyes  of  the  Rovezzano  Madonna  are  indicated  by  a black  spot.  Alinari’s 
photograph  (Fig.  179)  is  labelled  Chiesa  di  S.  Andrea  a Rovezzano, 
La  Madonna  del  Giglio,  but  evidently  it  was  taken  from  a cast  made  from 
the  Liechtenstein  Madonna,  or  from  a relief  which  resembled  it  very 
closely  in  detail. 


Fig.  179.  Cast  of  the  Liechtenstein  Madonna. 


BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  XXI  (1900),  24;  Denkm.,  75,  Taf.  225;  Z.  f.  b.  K.,  XXI  (1910),  307; 

FI.  Bildh.,  145-146,  Abb.  78;  FI.  Sc.,  102-103,  PI.  47;  Cruttwell,  135,  356; 
Marquand,  D.  R.  A.,  22-23;  Schubring,  76,  79,  Abb.  74;  Tschudi,  82; 
Venturi,  La  Madonna,  36. 

113  MADONNA  OF  THE  ROVEZZANO  TYPE,  Eduard  Simon 
Collection.  Berlin,  Collection  of  Eduard  Simon.  H.,  0.44  m. ; 
W.,  0.37  m.  Photo.,  private. 


264 


LUCA  DELLA  ROBBIA 


In  this  example  (Fig  180)  of  the  Rovezzano  type  a veil  instead  of  a 
turban-like  headdress  covers  the  head  of  the  Madonna.  In  this  respect 
she  approximates  the  Rovezzano  rather  than  the  Liechtenstein  type.  Traces 
of  gilding  remain  on  her  halo.  Her  ear  is  half  covered  by  her  waving 
hair.  Ider  eyes  have  gray-blue  irises,  dark  blue  brows,  and  copper- 
coloured  pupils.  The  ground  on  which  the  Madonna  is  seated  is  covered 
with  plants  and  flowers. 

BIBLIOGRAPHY 

See  under  No.  no. 


Fig.  180.  Madonna  of  the  Rovezzano  Type.  Eduard  Simon  Collection. 

114  MADONNA  OF  THE  ROVEZZANO  TYPE,  Shaw  Collection. 
Boston  (Jamaica  Plain),  Mrs.  O.  A.  Shaw  Collection.  H.,  0.48  m. ; 
W.,  0.38  m.  Photo.,  private. 

This  relief  (Fig.  181)  exhibits  a more  elaborate  composition  than 
that  of  the  Rovezzano  Madonna.  Three  angels  with  folded  hands  in 
the  midst  of  blue  and  black  clouds  adore  the  Mother  and  her  Child.  They 
have  merely  gilded  haloes,  while  those  of  the  Madonna  and  the  Child 
are  also  moulded  in  relief.  The  Madonna’s  headdress  differs  from  those 
of  the  Rovezzano,  the  Leichtenstein,  and  the  Eduard  Simon  Madonnas. 
Her  drapery  in  the  fine  quality  of  its  folds  is  like  that  of  the  Liechtenstein 


LUCA  DELLA  ROBBIA 


265 


Madonna.  The  composition  is  disposed  so  as  to  leave  the  tasseled  cushion 
plainly  visible  on  the  one  side  and  the  lily  plant  not  cut  by  the  edge  of 
the  relief  on  the  other.  The  dainty  yellow  plants  on  the  light  green  sward 


Fig.  181.  Madonna  of  the  Rovezzano  Type.  Mrs.  Q.  A.  Shaw  Collection. 


are  more  naturalistically  disposed  than  on  the  previous  reliefs,  making 
of  the  entire  composition  a veritable  Belle  Jardiniere.  This  very  picturesque 
composition,  hardly  the  work  of  Luca  himself  but  emanating  from  his 
atelier,  may  well  have  been  the  inspiration  for  all  the  other  and  less 
elaborate  compositions  of  the  Rovezzano  type. 

BIBLIOGRAPHY 


Marquand,  D.  R.  A.,  22-23,  Fig.  9. 


266 


LUCA  DELLA  ROBBIA 


115  MADONNA  OF  THE  ROVEZZANO  TYPE,  Mrs.  Holman  Hunt 

Collection,  London. 

I am  told  that  the  Madonna  of  the  Lilies  in  the  collection  of  Mrs. 
Holman  Hunt,  London,  is  a repetition  of  the  Rovezzano  type,  poorly 
glazed  and  with  no  flowers  or  plants  on  the  sloping  sward. 

BIBLIOGRAPHY 

Cruttwell,  135,  note  1,  347. 

116  MADONNA  OF  THE  ROVEZZANO  TYPE,  Victoria  and  Albert 

Museum,  No.  477.  Diam.,  0.63  m.  Photo.,  private. 

This  polychromatic  medallion,  acquired  by  the  Museum  in  1864,  is 
a sixteenth  century,  or  modern,  variant  of  the  Rovezzano  Madonna.  The 
Madonna's  robe,  which  should  have  been  red,  is  left  unglazed,  as  are  also 
her  face,  hair  and  hands.  Her  mantle  is  glazed  blue  with  green  lining;  her 
veil  is  white;  her  halo  yellow.  The  unglazed  Child  has  a halo  of  yellow 
and  brown.  The  Madonna  is  seated  not  on  a cushion,  hut  on  a rock,  bluish 
gray,  resting  on  the  green  foreground.  The  background  is  a very  light 
blue.  The  frame,  a narrow  continuous  series  of  fruit  and  flowers,  is 
polychromatic. 

BIBLIOGRAPHY 

See  under  No.  no,  also  Cavallucci  et  Molinier,  269,  No.  398;  Cruttwell,  135,  note  1,  345. 


117  the  VON  BECKERATH  SEATED  MADONNA,  Berlin 
Museum.  Berlin,  Kaiser-Friedrich-Museum,  No.  72.  H.,  0.455  m- 1 
W.,  0.40  m. 

This  relief  was  purchased  in  Florence  by  Herr  Adolph  von  Beckerath 
and  from  his  collection  passed  to  that  of  the  Berlin  Museum.  It  is  the 
finest  existing  example  of  a composition  of  which  various  replicas  are 
known.  The  Madonna,  facing  to  the  left,  is  seated  upon  blue  and  black 
clouds,  holding  in  her  lap  the  nude  Child  who  plays  with  her  veil.  The 
relief  shows  various  points  of  contact  with  Luca's  compositions,  but  can 
hardly  be  by  the  master  himself.  It  is  also  related  to  a somewhat  similar 
composition  repeated  several  times  in  the  works  of  Andrea  della  Robbia. 


LUCA  DELLA  ROBBIA 


26/ 


BIBLIOGRAPHY 

Bode,  J.  k.  p.  K.,  XXI  (1900),  24;  Denkm.,  75;  FI.  Bildh.,  146;  FI.  Sc.,  103;  Cruttwell, 
334;  Schottmiiller,  33,  No.  72  (I,  2939),  Abb.  72;  Schubring,  78,  79, 
Abb.  76;  Tschudi,  82. 


118  SEATED  MADONNA  OF  THE  VON  BECKERATH  TYPE, 
Victoria  and  Albert  Museum.  London,  Victoria  and  Albert  Mu- 
seum, No.  441 1,  ’58.  H.,  0.46  m. ; W.,  0.38  nr.  Photo.,  Museum 

This  relief  acquired  by  the  Museum  in  1858  is  an  inferior  replica  of 
the  von  Beckerath  Madonna  in  the  Berlin  Museum.  The  figures  are  white 
against  a blue  background.  The  Madonna’s  feet  are  covered  by  her  dra- 
pery. The  clouds  and  the  eyes  are  crudely  painted. 

BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  XXI  (1900),  24;  Denkm.,  75,  81  note;  Taf.  200,  FI.  Sc.,  103;  Burla- 
macchi,  77,  119;  Cavallucci  et  Molinier,  264  No.  274;  Cruttwell  346; 
Robinson,  57,  No.  4411;  Schottmiiller,  33. 


119  SEATED  MADONNA  OF  TPIE  VON  BECKERATH  TYPE, 
Berlin  Museum.  Berlin,  Kaiser-Friedrich-Museum,  No.  73.  H., 

0.485  m.;  W.,  0.38  m.  Photo.,  Museum. 

This  polychromatic  Madonna  of  the  von  Beckerath  type,  reproduced 
in  carta  pesta  presented  to  the  Berlin  Museum  in  1889,  has  lost  all  re- 
semblance to  the  works  of  Luca  della  Robbia,  except  in  composition.  The 
clouds  have  disappeared  and  instead  the  Madonna  is  seated  upon  a sward 
sprinkled  with  flowers. 

BIBLIOGRAPHY 

Schottmiiller,  33,  No.  73  (I,  1587),  Abb.  73;  also  bibliography  under  No.  115. 


120  SEATED  MADONNA  OF  THE  VON  BECKERATH  TYPE, 
Thomas  F.  Ryan  Collection.  New  York,  Collection  of  Air.  Thomas 
F.  Ryan.  H.,  0.47  m. ; W.,  0.38  m.  Photo.,  private. 

This  is  an  exceedingly  poor  reproduction  of  the  von  Beckerath 
Madonna.  The  background,  as  well  as  the  figures,  is  covered  with  a dull 
white  glaze;  there  has  been  little  or  no  modelling  beyond  the  rough 
impression  from  the  mould;  and  there  is  no  means  of  telling  whether  the 
Madonna  is  seated  upon  clouds  or  on  the  ground. 


268 


LUCA  DELLA  ROBBIA 


121  STEMMA  OF  THE  CAPPONI  FAMILY,  Pescia.  Piazza 
Vittorio  Emanuele,  No.  61.  c.  1472. 

I am  informed  that  on  the  outside  of  house  No.  61  in  the  Piazza 
Emanuele,  Pescia,  may  be  seen  a glazed  terra-cotta  coat  of  arms  of  the 
Capponi  family : Per  bend,  sable  and  argent,  with  a Tan  cross,  argent,  in 
chief.  These  arms  are  set  on  a blue  fluted  shell.  It  is  hazardous  to 
attribute  this  stemma  without  even  a photograph  before  us,  but  it  seems 
not  improbable  that  it  was  made  at  the  same  time  as  the  altarpiece  in  the 
Palazzo  Episcopale,  on  which  the  same  coat  of  arms  is  displayed. 


Fig.  182.  The  Shaw  Nativity. 


LUCA  DELLA  ROBBIA 


269 


122  THE  SHAW  NATIVITY.  Boston,  Museum  of  Fine  Arts,  loaned 
by  Mrs.  0.  A.  Shaw.  H.,  0.87  m. ; W.,  0.72  m.  Photo.,  Baldwin 
Coolidge,  No.  8822. 

This  relief  does  not,  strictly  speaking,  represent  the  Nativity,  but  the 
Adoration  of  the  Child  by  S.  Maria,  S.  Giuseppe,  the  ox  and  ass,  and  the 
angels  of  heaven  (Fig.  182).  It  is  somewhat  similar  to  the  Nativity  in 
the  collection  of  Mr.  Otto  H.  Kahn,  New  York,  but  as  a composition  it  is 
better  balanced,  and  the  ox  and  ass  are  more  thoroughly  differentiated. 
The  four  angels  recall  those  of  the  predella  of  the  Tabernacle  of  the 
Holy  Cross  at  Impruneta,  and  the  clouds  are  treated  in  Luca’s  manner.  But 
the  poses  of  S.  Maria  and  S.  Giuseppe  are  unstable,  the  Christ  Child  re- 
posing on  coarse  hay  is  devoid  of  charm,  and  the  stiff  wicker  barrier  cut 
off  at  the  top  looks  strange  when  represented  apart  from  the  stable.  We 
must  accordingly  assign  this  relief  to  some  worker  in  Luca’s  atelier,  not 
to  the  master  himself.  The  same  pupil’s  hand  may  be  recognized  in 
two  reliefs  in  the  Museo  Nazionale,  and  in  a third  in  the  Palazzo  Bianco, 
Genoa. 

BIBLIOGRAPHY 

Cruttwell,  335;  Marquand,  A.  J.  A.,  IX  (1894),  25,  note  1 ; D.  R.  A.,  15-16,  Fig.  6. 


123  THE  MADONNA  AND  ANGELS  ADORING  THE  CHILD. 

Florence,  Museo  Nazionale,  No.  21.  H.,  0.90  m. ; W.,  0.49  m. 

Photos.,  Alinari,  No.  3718;  Brogi,  No.  12696 

This  Adoration  (Fig.  183),  from  the  Monastero  of  S.  Caterina,  is  by 
the  same  imitator  of  Luca  who  made  the  Shaw  Nativity,  in  the  Museum 
of  Line  Arts,  Boston,  and  is  probably  somewhat  later  in  date,  for  the  type 
of  the  Virgin  has  departed  further  from  that  of  the  master,  nimbuses  are 
added  to  all  the  heads,  and  the  Holy  Dove  appears  in  the  composition.  The 
clouds  are  indicated  by  heavy  splashes  of  black  and  white,  the  hay  on 
which  the  Child  reclines  is  dark  green  covered  with  black  strokes,  and  the 
Madonna’s  eyes  have  yellow  irises,  but  brows,  lashes,  and  pupils  of  blue. 

BIBLIOGRAPHY 

Bode,  /.  k.  p.  K.,  XXI  (1900),  19;  Dcnkm.  73,  Taf.  230;  FI.  Bildh.,  137;  FI.  Sc.,  96; 

Burlamaccbi,  48-49,  109;  Cavallucci  et  Molinier,  220,  No.  87;  Cruttwell, 
338;  Marquand,  A.  J.  A.,  IX  (1894),  25,  note  1;  D.  R.  A.,  16;  Rey- 
mond  D.  R.,  159;  Sc.  FI.,  III.  151,  153;  Rossi,  A.  S.  A.,  VI  (1893),  10; 
Supino,  440,  No.  21. 


270 


LUCA  DELLA  ROBBIA 


Fig.  183.  Madonna  adoring  the  Child. 


124  THE  MADONNA  AND  ANGELS  ADORING  THE  CHILD. 

Newman  School,  Hackensack,  N.  J.  H.,  0.84  m. ; W.,  0.46  m. 

In  the  Chapel  of  the  Newman  School  at  Hackensack,  N.  J.,  may  be 
seen  a Robbia  School  copy  of  the  preceding  relief,  with  the  following- 
modifications:  the  clouds  are  in  low  relief  glazed  white  with  a few  strokes 
of  light  blue;  the  type  of  the  Virgin  is  somewhat  mollified,  and  her  eyes 
are  indicated  roughly  by  single  strokes  for  the  eyebrows  and  upper 
lashes,  while  the  irises  and  pupils  are  confused  in  a mass  of  light 
violet ; the  hay  on  which  the  Child  rests  is  of  a lighter  green  streaked 
with  yellow.  The  blue  sky  is  less  pure  than  that  of  its  prototype  in  the 


LUCA  DELLA  ROBBIA 


271 

Museo  Nazionale.  Otherwise  the  composition  with  the  Holy  Dove,  the 
three  angels  singing  the  Gloria  in  Excelsis,  and  the  Madonna  adoring  the 
Child  remains  the  same. 

125  THE  MADONNA  ADORING  THE  CHILD.  Florence,  Museo 
Nazionale,  No.  48.  H.,  0.60  m. ; W.,  0.43  m.  Photos.,  Alinari, 

No.  2769;  Brogi,  No.  9487. 

This  relief  came  from  the  Monastero  dei  Cappuccini,  and  originally 
may  have  been  set  in  a private  shrine  or  tabernacle  (Fig.  184).  It  now 
occupies  the  centre  of  a tondo  by  Giovanni  della  Robbia,  in  which  poly- 
chromatic angels  hold  above  her  head  a jewelled  crown,  through  which 
crude  flames  descend  from  the  Sacred  Dove. 

The  Madonna  wears  a headdress  like  that  of  the  Liechtenstein 
Madonna,  while  her  attitude  and  the  folds  of  her  drapery  correspond  to 


Fig.  184.  Madonna  adoring  the  Child. 


those  in  the  Shaw  Nativity  in  the  Boston  Museum  and  to  those  in  the 
Adoration  from  S.  Caterina  in  the  Museo  Nazionale.  The  Child,  similar  in 
pose  and  modelling  to  the  Child  in  the  latter  relief,  reclines  on  similar 
dark  green  hay. 


272 


LUCA  DELLA  ROBBIA 


BIBLIOGRAPHY 

Burlamacchi,  50,  no;  Cavallucci  et  Molinier,  217,  No.  73;  Cruttwell,  339;  Marquand, 
A.  J.  A.,  IX  (1894),  25,  note  1;  Supino  447,  No.  48. 

126  THE  MADONNA  ADORING  THE  CHILD.  Genoa,  Palazzo, 
Bianco,  or  Municipio,  No.  O.  P.  1.475.  H.,  0.65  m. ; W.,  0.40  m. 

Photo.,  Alinari,  No.  14953. 

This  relief  (Fig.  185)  was  for  a long  time  in  the  possession  of  the 
Brignole  family,  then  in  that  of  the  Marchese  Deferrari,  and  was  pre- 


Fig.  185.  Madonna  adoring  the  Child. 


sented  to  the  Municipio  by  the  English  consul,  Mr.  Yeats  Brown  Montague. 
The  lunette  with  God  the  Father  between  two  cherubs  may  have  always 
belonged  with  the  Adoration  relief,  in  which  case  the  original  frame  or 
tabernacle  has  been  destroyed.  The  background  of  blue  was  once  deco- 
rated with  crudely  designed  gilded  stars.  The  Madonna’s  eyes  show 
yellow  irises,  and  violet  upper  lashes,  pupils,  and  iris  boundaries.  The 


LUCA  DELLA  ROBBIA 


273 


Child  rests  upon  green  hay  streaked  with  yellow  and  violet.  The  compo- 
sition may  be  attributed  to  the  author  of  the  Shaw  Nativity  and  of  the 
Adorations  just  described,  but  in  style  and  spirit  this  relief  is  not  closely 
related  to  the  work  of  Luca  della  Robbia. 


Cruttwell,  334. 


BIBLIOGRAPHY 


Fig.  186.  Fragment  with  Angels,  von  Beckeratii  Collection. 


127  FRAGMENT  OF  A RELIEF  WITH  TWO  ADORING 
ANGELS.  Berlin,  Collection  of  Herr  Adolph  von  Beckerath. 
Photo.,  private. 

This  relief  (Fig.  186)  may  well  have  constituted  part  of  a large 
altarpiece  representing  Christ  in  Glory  or  the  Assumption  of  the  Virgin. 


274 


LUCA  DELLA  ROBBIA 


At  least  the  form  of  the  fragment  indicates  not  a lunette  with  horizontal 
base,  but  a large  composition  in  which  another  pair  of  angels  were  set 
beneath  this  pair  and  separated  from  them  by  painted  clouds.  Such  an 
altarpiece  would  hardly  have  been  designed  by  Luca  himself,  but  the  types 
of  the  angels  and  the  splashy  clouds  point  to  some  pupil  who  had  caught 
his  spirit  and  worked  in  his  manner. 

BIBLIOGRAPHY 
Bode,  Z.  /.  b.  K .,  XXI  (1910),  307. 


LIST  OF  ABBREVIATIONS 


I.  PERIODICALS 

A.  and  A.  = Art  and  Archaeology.  Arch- 
aeological Institute  of  America.  Wash- 
ington, 1914 — . 

A.  and  P.  = Art  and  Progress.  American 
Federation  of  Arts.  Washington,  1909 — . 

A.  e S.  — Arte  e Storia.  Florence,  1881 — . 

A.  I.  D.  I.  = Arte  italiana  decorativa  ed 
industriale.  Rome-Venice-Milan,  1890 — . 

A.  in  A.  = Art  in  America.  New  York, 
1913— 

A.  J.  A.  = American  Journal  of  Archae- 
ology. Archaeological  Institute  of  Amer- 
ica. Washington,  1885 — . 

L’Arte  = L’Arte,  gia  Archivio  storico  dell’ 
Arte.  Rome,  1898 — . 

Les  Arts  — Les  Arts.  Revue  Mensuelle  des 
Musees,  Collections,  Expositions.  Paris, 

1902 —  . 

A.  S.  A.  = Archivio  storico  dell'  Arte. 
Rome,  1888-1897. 

Ber.  d.  Kunsthist.  Ges.  = Berichte  der 
Kunsthistorischen  Gesellschaft.  Berlin, 
1895—. 

Br.  = The  Brickbuilder.  Boston,  1890 — . 

Burl.  Mag.  = The  Burlington  Magazine 
for  Connoisseurs.  London,  1903 — . 

Chr.  d.  A.  = Chronique  des  Arts.  Supple- 
ment to  Gazette  des  Beaux  Arts.  Paris, 
1859— 

C.  R.  Acad.  Ins.  = Comptes  rendus  de 
l’A'cademie  des  Inscriptions  et  Belles 
Lettres.  Paris. 

Gas.  Arch.  = Gazette  Archeologique. 
Paris,  1875-1888. 

Gas.  B.  A.  = Gazette  des  Beaux  Arts. 
Paris,  1859 — . 

/.  k.  p.  K.  = Jahrbuch  der  koniglich  preus- 
sischen  Kunstsammlungen.  Berlin, 
1880 — . 

Jhb.  Ocst.  K.  — Jahrbuch  der  kunsthisto- 
rischen Sammlungen  des  allerhochsten 
Kaiserhauses.  Vienna,  1883 — . 

Knnstchron.  = Kunstchronik,  beiblatt  zur 
Zeitschrift  filr  bildende  Kunst.  Leipzig, 
1866—. 

Mus.  = Das  Museum.  Berlin  and  Stutt- 
gart, 1906-1911. 

Rep.  f.  K.  =r  Repertorium  fiir  Kunstwis- 
senschaft.  Berlin,  1876 — . 

Riv.  d’Arte  — Ri vista  d’Arte.  Florence, 

1903— . 

Z.  f.  b.  K.  = Zeitscrift  fiir  bildende 
Kunst.  Leipzig,  1866 — . 

2.  BOOKS 

Albertini  = Francesco  Albertini,  Memo- 
riale  di  niolte  statue  e pitture  della  cittd 


di  Firenze.  Stampato  nel  1510  e ripub- 
blicato  nel  1863.  Florence,  1863. 

d’ Ancona,  L’Arte,  V = Paolo  d’ Ancona, 
Le  rappresentasioni  allegoriche  delle  arti 
liberali  nel  medio  evo  e nel  Rinascimento. 
L’Arte,  V (1902),  137-155-  211-228,  269- 
289,  370-385- 

Anonimo  di  Cod.  Magi.  — Carl  brey,  II 
codice  Magliabechiano  contenente  notizie 
sopra  I’arte  etc.  scritte  da  Anonimo  Fior- 
entino.  Berlin,  1892. 

Anselmi,  A.  S.  A.,  II  (1895)  = Anselmo 
Anselmi,  Lc  maioliche  dei  della  Robbia 
nella  provincia  di  Pesaro-Urbino.  Ar- 
chivio Storico  dell’  Arte,  VIII  (1895), 
435-448. 

Bacci  = Peleo  Bacci,  II  gruppo  pistoiese 
della  Visitazione,  gia  attribuito  a Luca 
della  Robbia.  Florence,  1906. 

del  Badia,  Raccolta  — Iodoco  del  Badia, 
I\.  e E.  Mazzatinti,  Raccolta  delle  mi- 
gliori  fabbriche  antiche  e moderne  di 
Firenze.  Florence,  1876. 

Balcarres  = Lord  Balcarres,  The  Evolu- 
tion of  Italian  Sculpture.  London,  1909. 

Baldinucci  = Filippo  B-aldinucci,  Opere. 
14  vols.  Milan,  1808-1812. 

Barbet  de  Jouy  = Henry  Barbet  de  Jouy, 
Les  della  Robbia.  Etude  sur  leur  travaux, 
suivie  d’un  catalogue  de  leur  oeuvre. 
Paris,  1885. 

Berti  = G.  Berti,  Cenni  storico-artistici  per 
scrzdre  di  guida  ed  illustrasione  della  in- 
signe  Basilica  di  S.  Miniato  al  Monte. 
Florence,  1850. 

Bettoni  = Nicolo  Bettoni,  Le  Tombe  ed 
i Monumenti  illustri  d’ltalia,  2 vols. 
Milan,  1822-1823. 

Bigazzi  = Francesco  Bigazzi,  Iscrisionc  e 
memorie  della  cittd  di  Firenze.  Florence, 
1887. 

Billi  = II  libro  di  Antonio  iBilli.  Heraus- 
gegeben  von  Carl  Frey.  Berlin,  1892. 

Bisticci  = Vespasiano  da  Bisticci,  Vite  di 
uomini  illustri  del  secolo  XV.  3 vols. 
Bologna,  1892-1893. 

Bilanc,  Coll.  Thiers  = Charles  Blanc,  Col- 
lection d’objects  d’art  de  M.  Thiers  leguee 
au  Musee  du  Louvre.  Paris,  1884. 

Bocchi-Cinelli  = Francesco  Bocchi  e Gio- 
vanni Cinelli,  Le  bellesse  della  cittd  di 
Firenze  . . . scritta  gia  da  M.  Francesco 
Bocchi  ed  ora  da  M.  Giovanni  Cinelli 
ampliate  ed  accresciute.  Florence,  1677. 

Bode,  A.  S.  A.  IT  (1889)  = Wilhelm  Bode, 
Luca  della  Robbia  ed  i suoi  precursori 
in  Firense.  Archivio  storico  dell’  Arte, 
II  (1889),  1-9. 

Bode,  Coll,  of  Oscar  Hainauer  — Wilhelm 


275 


276 


LIST  OF  ABBREVIATIONS 


Bode,  The  Collection  of  Oscar  Hainauer. 
London,  1906. 

Bode,  Denkm.  = Wilhelm  Bode,  Denkmdler 
der  Renaissance-Sculptur  Toscanas.  Text 
and  557  plates.  Munich,  1892-1905. 

Bode,  FI.  Bildh.  = Wilhelm  Bode,  Floren- 
tincr  Bildhaucr  der  Renaissance.  3rd  ed. 
berlin,  1911. 

Bode,  FI.  Sc.  = Wilhelm  Bode,  Florentine 
Sculptors  of  the  Renaissance.  New 
York,  1909. 

Bode,  It.  Bildh.  = Wilhelm  Bode,  Italien- 
ische  Bildhaucr  der  Renaissance.  Berlin, 

1887. 

Bode,  It.  PL  = Wilhelm  Bode,  Italienische 
Plastik.  4th  ed.  Berlin,  1905. 

Bode,  J.  k.  p.  K.,  VII  (1885)  = Wilhelm 
Bode,  Luca  della  Robbia.  Jahrbuch  der 
koniglich  preussischen  Kunstsammlungen, 
VII  (1885),  170-185. 

Bode,  J.  k.  p.  K.,  XXI  (1900)  = Wilhelm 
Bode  Luca  della  Robbia.  Jahrbuch  der 
koniglich  preussischen  Kunstsammlungen, 
XXI  (1900),  1-33. 

Bode,  Kf  = Wilhelm  Bode,  Die  Kiinstlcr- 
fainilie  della  Robbia.  In  Dohme,  Kunst 
und  Kiinstler  Italiens,  II,  I,  No.  47.  Leip- 
zig, 1878. 

Bode,  Kunst  eh.  XVIII  (1907)  = Wilhelm 
Bode,  Die  Gruppe  der  Begegnung  Maria 
wit  der  h.  Elizabeth  in  S.  Giovanni  Fuor- 
civitas  in  Pistoia,  Kunstchronik,  XVIII 
(1907),  No.  31. 

Bode.  Munch.  lalirb.,  I (1906)  = Wilhelm 
Bode,  Originalwiederholungen  glasicrtcr 
Madonnen  reliefs  von  Luca  della  Robbia. 
Munchner  Jahrbuch  der  bildenden  Kunst, 
I (1906),  28-32. 

Bode,  Mus.  Wilhelm  Bode,  Luca  della 
Robbia  als  Portrdtbildner,  Das  Museum, 
II,  69-72.  Berlin  and  Stuttgart. 

Bode,  Riv.  d’Arte,  III  = Wilhelm  Bode, 
La  Madonna  di  Luca  della  Robbia  del 
1428.  Ri vista  d’Arte,  1905,  1-3. 

Bode,  Schneider  = Wilhelm  Bode,  Luca 
della  Robbia’s  Turlunette  wit  der  von 
Engeln  vcrchrten  Madonna  im  Kaiser- 
Fried  rich  Museum  su  Berlin.  Studien  aus 
Kunst  und  Geschichte  Friedrich  Schnei- 
der zum  siebzigsten  Geburtstag  gewidmet, 
181-182.  Frieburg  im  B.  1906. 

Bode,  Z.  f.  b.  K.,  XXI  = Wilhelm  Bode, 
N eucntdccktc  Bildwerke  in  glasierten 
Ton  von  Luca  della  Robbia.  Zeitschrift 
fiir  bildende  Kunst,  XXI  (1910),  305- 
307- 

Bode  und  Tschudi  = Wilhelm  Bode  und 
Hugo  von  Tschudi,  Beschreilung  der 
Bildwerke  der  christlichen  Epoche. 
Konigliche  Museum  zu  Berlin.  Berlin, 

1888. 

Burger  = Fritz  Burger,  Geschichte  dcs 
florentinischen  Grabmals  von  aeltesten 
Zeitcn  bis  Michelangelo.  Strassburg, 
1904. 

Burlamacchi  — Marchesa  L.  Burlamacchi, 
Luca  della  Robbia.  London,  iqoo. 

Brockhaus,  Z.  /.  b.  A'.,  XIX  (1908)  = 
Heinrich  Brockhaus,  Die  Sangerkanscln 


des  florentiner  Dows  in  Hirer  kirchlichen 
Bcdeutung.  Zeitschrift  fiir  bildende 
Kunst,  XIX  (1908),  160-161. 

Burckhardt  = Burckhardt-Bode-Fabriczy, 
Der  Cicerone.  Eine  Anleitung  zum  Ge- 
nuss  der  Kunstwerke  Italiens.  9th  ed. 
Leipzig,  1904. 

Carocci,  A.  e S.,  1894  = Guido  Carocci, 
II  monumento  di  Benosso  Federighi. 
Arte  e Storia,  1894. 

Carocci,  A.  I.  D.  I.,  V (1896)  = Guido 
Carocci,  I tondi  robbiani  in  Toscana. 
Arte  italiana  decorativa  ed  industrial,  V 
(1886),  29-31,  Tav.  20-21. 

Carocci,  A.  I.  D.  I.,  VI  (1897)  = Guido 
Carocci,  Le  cantorie  nclla  Picve  di  S. 
Maria  Impruneta  ed  un  fregio  Robbiano. 
Arte  Italiana  decorativa  e industrial,  VI 
(1897),  65-66.  Tav.  46. 

Carocci,  A.  I.  D.  I..  XIII  (1904)  = Guido 
Carocci  II  monumento  di  vcscovo  Benosso 
Federighi  e I’ornamentasione  floriale 
robbiana.  Arte  Italiana  decorativa  ed 
industriale,  XIII  (1904),  No.  1 1 , 85-88. 

Carocci,  Dint.,  1881  = Guido  Carocci,  I 
Dintorni  di  Fircncc,  Florence,  1881.  Also 
a new  and  enlarged  edition  of  the  same 
in  2 vols.  Florence,  1906-1907. 

Carocci,  Galluzzo  = Guido  Carocci,  11 
commie  del  Galusso.  Florence,  1892. 

Casotti  = Giovambatista  Casotti,  Mcmorie 
isiorische  della  miracolosa  immagine  di 
Maria  Vergine  dell’  Impruneta.  Florence, 
UM- 

Cat.  Bardac  = Henri  Lemen,  Collection 
Sigismond  Bardac.  Faiences  italiennes 
du  XV  siecle.  Objets  de  haute  curiosite 
du  moyen  age  et  renaissance.  Paris,  1913. 

Cat.  Mus.  d.  Duomo  = Catalogue  del 
Musco  dell’  Opera  del  Duomo.  Nuova 
edizione  ampliata  ed  arrichita  di  docu- 
ment da  Giovanni  Poggi.  Florence,  1904. 

Cat.  du  Mus.  Jacquemart-Andre  = Lmile 
Bertaux,  Catalogue  du  Muscc  Jacquemart 
Andre.  2nd  ed.  Paris,  1914. 

Cat.  Maurice  Kami  = Collection  Maurice 
Kami.  Catalogue  dcs  Objets  d’Art,  etc. 
Paris,  1910. 

Cat.  Marquand  Collection  = Illustrated 
Catalogue  of  the  Art  and  Literary  Prop- 
erty collected  by  the  late  Henry  G.  Mar- 
quand. Sale  Jan.  23-30,  1903.  New  York, 
1902. 

Cat.  Spitzer  Coll.  = Catalogue  des  Objets 
d’Art,  etc.  composant  I’importante  et 
precieuse  Collection  Spitser,  par  Paul 
Chevallier  et  Charles  Mannheim.  Paris, 

1893- 

Cavallucci  = Cammillo  Jacopo  Cavallucci, 
Santa  Maria  del  Fiore  e la  sua  facciata. 
Florence,  1887. 

Cavallucci  et  Molinier  = Cammillo  Jacopo 
Cavallucci  et  Emile  Molinier,  Les  della 
Robbia.  Leur  Vie  et  leur  Oeuvre  . . . 
suivi  d’un  catalogue.  Paris,  1884. 

Cenni  storici  e artistici  di  S.  Trinita.  Flor- 
ence, 1897. 

Ciaconius  = Alfonso  Chacon,  Vitae  et  res 
gestae  pontificum  romanorum  et  romanae 


LIST  OF  ABBREVIATIONS 


277 


Ecclesiae  cardinalium.  4 vols.  Rome, 
1677. 

Cicognara  = Leaped  do  Conte  Cignorara, 
Storia  della  scultura  dal  suo  risorgimento 
in  Italia  fino  al  sccolo  di  Canova.  7 vols. 
and  atlas.  Prato,  1823-1824. 

Cocchi  = Arnaldo  Cocchi,  Le  chiese  di 
Firenze  dal  sccolo  IV  al  sccolo  XX. 
Florence,  1903. 

Cruttwell  = Maude  Cruttwell,  Luca  and 
Andrea  della  Robbia  and  their  successors. 
London  and  New  York,  1902. 

Daniel,  Burl.  Mag.,  XXI  (1912)  = A.  M. 
Daniel,  Italian  Sculpture  at  the  Burling- 
ton Fine  Arts  Club.  Burlington  Maga- 
zine, XXI  (1912),  278-284. 

Darcel  = Alfred  Darcel,  Recueil  dc  faiences 
italiennes  des  XV,  XVI  ct  XVII  siecles. 
Paris,  1869. 

Delaborde  = Flenri  Delaborde,  Les  maitres 
florentins  du  quinsieme  siccle.  Paris,  n.  d. 

Deneken  = F.  Deneken,  Zweiter  Bericht  des 
stddtischen  Kaiser-Wilhelm-Museums  in 
Krcfeld.  Krefeld,  1904. 

Doering-Dachau  = Oscar  Doering-Dachau, 
Die  Kiinstlerfamilie  della  Robbia  (Die 
Kunst  dem  Volke,  NTo.  14).  Munich, 
I9I.3- 

Durrieu  = Le  Comte  Paul  Durrieu,  Les 
arinoiries  du  bon  roi  Rene.  Comptes 
rendus  de  l’Academie  des  Inscriptions  et 
Belles  Lettres,  1908,  102-114. 

Filarete  = Antonio  Averlino  I'ilarete,  Trat- 
tato  d'architettura,  also  in  German  trans- 
lation, Tractdt  iiber  die  Baukunst  nebst 
seinen  Biichern  von  der  Zeichnenkunst 
und  den  Bauten  der  Medici,  zum  ersten- 
male  herausgegeben  und  dearbeitet  von 
Dr.  Wolfgang  von  Oettingen.  Published 
in  Eitelberger  von  Edelberg’s  Quellen- 
schriften  fur  Kunstgeschichte.  Neue 
Folge,  III  Band.  Vienna,  1890. 

Fabriczy  = Cornelius  von  Fabriczy, 
Filippo  Brunelleschi.  Stuttgart,  1892. 

Fabriczy,  /.  k.  p.  K.,  XX  (1899)  = Cor- 
nelius von  Fabriczy,  Der  Triumphbogen 
Alfonsos  I am  Castcl  Nuovo  zu  Neapel. 
Jabrbuch  der  koniglich  preussischen 
Kunstsammlungen,  XX  (1899),  1-30, 

125-158. 

Fabriczy,  /.  k.  p.  K.,  XXV  (1904),  Beih.  = 
Cornelius  von  Fabriczy,  Michelozzo  di 
Bartolomeo , Beiheft  zum  Jahrbuch  der 
Koniglich  preussischen  Kunstammlungen, 
XXV  (1904),  34-110. 

Fabriczy,  Rep.  f.  K.,  XXX  (1907)  = Cor- 
nelius von  Fabriczy,  Die  H eimsuchungs- 
gruppe  in  S.  Giovanni  fuorcivitas  zu 
Pistoia.  Repertorium  fur  Kunstwissen- 
schaft,  XXX  (1907),  285-286. 

Fortnum  = Charles  Drury  Edward  Fort- 
num.  Descriptive  Catalogue  of  the  Maio- 
lica  in  the  S.  Kensington  Museum.  Lon- 
don, 1873. 

de  Foville  = Jean  de  Foville,  Les  della 
Robbia.  Paris.  1910. 

Franceschini  = Pietro  Franceschini.  L’Ora- 
torio  di  San  Michele  in  Orto  in  Firenze. 
Florence,  1892. 


Franceschini,  A.  F.  = Pietro  Franceschini, 
Per  I’arte  fiorentino.  Florence,  1895. 

Frey  = Carl  I'rey,  II  Codice  Magliabc- 
chiano,  etc.  Berlin,  1892. 

Gaye  = Giovanni  Gaye,  Cartcggio  inedito 
d’artisti  dci  secoli  XIV , XV  e XVI.  Pub- 
blicato  ed  illustrato  con  documenti  pure 
inediti.  3 vols.  Florence,  1839-1840. 

Gerspach,  Ch.  d.  A.  1896  = Edouard  Ger- 
spach,  Le  Tombeau  de  I’eveque  Federighi. 
Chronique  des  Arts,  1896,  156-157. 

Gerspach,  R.  A.  Chr.,  XLI  (1898)  = Ed- 
ouard Gerspach,  L’eglise  dc  la  Santissima 
Trinita  de  Florence.  Revue  de  l’Art  Chre- 
tien, XLI  (1898),  363-368. 

Gerspach,  R.  A.  Chr.,  XLI,  1898,  385  = 
Edouard  Gerspach,  Correspondence. 
Italic.  Revue  de  l’Art  Chretien,  XLI 

(1898),  385-389- 

Gerspach,  R.  A.  Chr.,  XV  (1904)  =:  Ed- 
ouard Gerspach,  Nouvelles  acquisitions 
des  musees  dc  Florence.  Revue  de  l’art 
Chretien,  XV  (1904),  405-407. 

Giglioli  = Odoardo  H.  Giglioli,  Pistoia 
ncllc  sue  opere  d’arte.  Florence,  1904. 

Giglioli,  Riv.  d'Arte,  IV  (1906)  = Odoardo 
FI.  Giglioli,  La  cappella  del  Cardinale  di 
Portogallo  nella  chiesa  di  San  Miniato  al 
Monte.  Rivista  d’Arte,  IV  (1906),  89-99. 

Gnauth  und  Forster  = A.  Gnauth  und  FI. 
Forster,  Bauwerke  der  Renaissance  in 
Toscana.  Vienna,  1867. 

Gonnelli  = Giuseppe  Gonnelli,  Monument i 
sepolcrali  della  Toscana.  Florence,  1819. 

Gronau  =;  Georg  Gronau.  Review  of  Peleo 
Bacci’-s  Gruppo  pistoiesc  della  Visitazione 
in  Monatshefte  der  Kunstwissenschaft- 
lichen  Literatur,  III  (1907),  2-3. 

Hill  = G.  F.  Hill,  On  the  Early  Use  of 
Arabic  Numerals  in  Europe.  Arehaeolo- 
gia,  LXI  (1910),  137-190. 

Janitschek  = Hubert  Janitschek,  Maso  di 
Bartolomeo  genannt  Masaccio,  Anhang  zu 
Leone  Battista  Alberti’s  Kleinere  Kunst- 
tbeoretische  Schriften,  published  in 
Eitelberger  von  Edelberg’s  Quellenschrif- 
ten  fiir  Kuntsgeschichte,  XI.  Vienna, 
1877. 

Labarte  = Jules  Labarte,  Histoire  des  arts 
industrials  au  moyen  age  ct  a I'cpoque 
dc  la  renaissance.  4 vols.  text,  and  2 of 
plates.  Paris,  1864-1866. 

Laspeyres  = Paul  Laspeyres,  Die  Kirchen 
der  Renaissance  in  Mittelitalien.  Berlin, 
1882. 

Lazari  = Vincenzo  Lazari,  Notizia  dcllc 
opcrc  d’arte  e d’antichitd  della  raccolta 
Corner  di  Venezia.  Venice,  1859. 

A.  Lecoy  de  la  Marche,  Le  roi  Rene, 
2 vols.  Paris,  1873. 

Lethaby  = William  Richard  Lethaby,  Ma- 
jolica Roundels  of  the  Months  of  the 
V car  at  the  Victoria  and  Albert  Museum. 
Burlington  Magazine,  IX  (1906),  404- 
407. 

Litta  = Conte  Pompeo  Litta,  Famiglie 
celebri  d’ltalia.  Milan,  1819 — . 

Marquand,  A.  a.  A.,  I (1914)  = Allan  Mar- 
quand,  The  Visitation  at  Pistoia  by  Luca 


278 


LIST  OF  ABBREVIATIONS 


della  Robbia.  Art  and  Archaeology,  I 
(1914),  21-26. 

Marquand,  A.  a.  P.,  V (1914)  = Allan 
Marquand,  Luca  della  Robbia.  Art  and 
Progress,  V (1914),  79-85. 

Marquand,  Art  in  America , 1914  = Allan 
Marquand,  Coat  of  Arms  of  the  Ginori 
Family.  Art  in  America,  II  (1913- 
1914),  242-246. 

Marquand,  A.  J.  A.,  VIII  (1893)  = Allan 
Marquand,  Some  Unpublished  Monu- 
ments by  Luca  della  Robbia.  American 
Journal  of  Archaeology,  VIII  (1893), 
1 53- 1 70. 

Marquand,  A.  J.  A.,  IX  (1894)  = Allan 
Marquand,  The  Madonnas  of  Luca  della 
Robbia.  American  Journal  of  Archae- 
ology, IX  (1894),  1-25. 

Marquand,  A.  J.  A.,  XI  (1907)  = Allan 
Marquand,  The  Visitation  of  Luca  della 
Robbia  at  Pistoia.  American  Journal  of 
Archaeology,  XI  (1907),  36-41. 

Marquand,  A.  J.  A.,  XVI  (1912)  = Allan 
Marquand,  On  Some  Recently  Discovered 
Works  by  Luca  della  Robbia.  American 
Journal  of  Archaeology,  XVI  (1912), 
163-174. 

Marquand,  Brickbuilder,  1895  = Allan 
Marquand,  Luca  della  Robbia  and  his  use 
of  glazed  terra-cotta.  Brickbuilder,  1895, 
249-251. 

Marquand,  Brickbuilder,  1902  = Allan 
Marnuand,  Robbia  Pavements.  The 
Brickbuilder,  1902,  March  No.,  55-57, 
Dec.  No.,  98-101. 

Marquand,  Sc.  Mag.  = Allan  Marquand, 
A Search  for  della  Robbia  Monuments 
in  Italy.  Scribner’s  Magazine,  Dec.,  1893. 

Marrai,  A.  e S..  XVIII  (1899)  = Bernardo 
Marrai,  Le  Cantorie  di  Luca  della  Rob- 
bia c di  Donatello  in  Arte  e Storia,  1899, 
Jan.  15,  Feb.  10,  March  5. 

Marrai,  A.  I.  D.  I..  IX  (1900)  = Bernardo 
Marrai,  Le  riconiposizione  della  cantoria 
di  Luca  della  Robbia.  Arte  Italiana  deco- 
rativa  ed  industrial,  IX  (1900),  82-84. 

Marrai,  Cant.  = Bernardo  Marrai,  Le  Can- 
torie di  Luca  della  Robbia  e di  Dona- 
tello. Florence,  1900. 

Marrai,  Prim.  = Bernardo  Marrai,  La 
Primavera  di  Botticelli,  le  Cantorie  di 
Luca  della  Robbia  e di  Donatello,  la  Se- 
poltura  di  Lemmo  Balducci,  Opcre  d'arte 
dell’  Arcispedale  di  S.  Maria  Nuoz’a. 
Florence,  1907. 

de  Mely,  Gaz.  B.  A.,  XXXIV  (1905)  = 
F.  de  Mely,  La  dorurc  sur  ceramique  ct 
t’ email  de  Jehan  Fouquet  an  Louvre. 
Gazette  des  Beaux  Arts,  XXXIV  (1905), 
281-287. 

Michel  = Andre  Michel,  Histoire  de  I’Art 
depuis  les  premiers  temps  chretiens 
jusqu'a  nos  jours.  4 vols.  published. 
Paris,  1905 — . 

Michel,  Gaz.  B.  A.,  X (1913)  = Andre 
Michel,  La  Sculpture  au  Musee  Jacque- 
mart-Andre.  Gazette  des  Beaux  Arts, 
x (1913),  465-478. 

Migeon,  Les  Arts,  1902  = La  Collection 


de  M.  Edmond  Foulc.  Les  Arts,  Mai, 
1902,  1-8. 

Milanesi.  See  Vasari,  Vite,  etc. 

Del  Migliore  = Ferdinando  Leopoldo  del 
Migliore,  Firenze  cittd  noblissima  illus- 
trata.  Florence,  1684. 

Molinier,  Gaz.  Arch.,  IX  (1884)  = fimile 
Molinier,  Une  Oeuvre  inedite  di  Luca 
della  Robbia.  Le  Tabernacle  en  marbre 
de  I’eglise  de  Peretola,  pres  de  Florence. 
Gazette  Archeologique,  IX  (1884),  364- 
370. 

Mothes  = Oscar  Mothes,  Geschichte  der 
Baukunst  Venedigs.  2 vols.  Leipzig, 

1859- 

Muntz,  Coll.  Med.  = Eugene  Miintz,  Les 
Collections  des  Mcdicis  au  XV  siecle. 
Paris,  1888. 

Phillips  = Claude  Phillips,  Espozione  della 

R.  Accademia  di  Londra.  Marimi  e 
bronzi  del  rinascimento  italiano.  Archi- 
vio  storico  dell’  Arte,  I (1888),  97-101. 

P.  O.  B.  = P.  O.  B.,  Istoria  della  cittd  di 
Pescia,  Pescia,  1874. 

Perkins,  H.  H.  = Charles  Perkins,  His- 
torical Handbook  of  Italian  Sculpture. 
New  York,  1883. 

Perkins,  T.  S.  = Charles  Perkins,  Tuscan 
Sculptors.  2 vols.  London,  1864. 

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Poggi,  Cat.  Mus.  Duomo  = Giovanni  Poggi, 
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Poggi,  Riv.  d’Arte,  IV,  1906,  158  = Gio- 
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Priorista  = a Manuscript  in  the  Princeton 
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Priors  of  Florence  with  their  coats  of 
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Quatrebarbes  = Le  Comte  de  Quatrebarbes, 
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Repetti  = Emanuele  Repetti,  Dizionario 
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Reymond,  Brunelleschi  = Marcel  Reymond, 
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LIST  OF  ABBREVIATIONS 


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Luca  della  Robbia.  Rivista  d’Arte,  II 
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Reymond,  Sc.  Flor.  = Marcel  Reymond, 
La  Sculpture  Florentine.  4 vols.  Flor- 
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Richa  = Giuseppe  Richa,  Notizie  istorische 
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Robinson  = J.  C.  Robinson,  Italian  Sculp- 
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the  Revival  of  Art  in  the  South  Kensing- 
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Rossi  = Umberto  Rossi,  II  museo  nasionale 
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Rumohr  = C.  F.  von  Rumohr,  Italienische 
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1827-1831. 

Ruskin  = John  Ruskin,  The  Works  of  John 
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Sachs  = Curt  Sachs,  Das  Tabernakcl  mit 
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S.  Donato  Cat.  = Catalogue  des  Ob  jets 
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Schmarsow,  A.  S.  A.,  IV  (1891)  = Un 
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Schottmiiller  = Frida  Schottmiiller,  Be- 
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Schottmiiller,  7.  k.  p.  K.,  XXVII  (1906)  = 
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Schubring,  L’Arte,  IX  (1906)  = Paul 

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Semper,  Rcgesten  = Hans  Semper,  Dona- 
tello seine  Zeit  und  Schule.  Anhang  II. 
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Senneville,  Gaz.  B.  A.  IX  (1874)  = P.  Sen- 
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1894- 


INDEX 


Accademia,  155. 

Acroteria,  85. 

Adoration,  51,  52,  170-171, 
219-220,  221,  269-273. 
Alberti,  170,  186. 

Albertini,  98. 

Alesandri,  228. 

Alleluia  reliefs,  9,  17. 

Alotti,  125. 

Alpha,  63,  251. 

Altar,  41. 

Altarpiece,  211,  212,  213,  235, 
239,  273,  274. 

Altman,  57-58,  115. 
Altopascio,  211. 

Amsterdam,  247. 

Anatomy,  100,  147. 

Ancisa,  161. 
d'Ancona,  36,  39. 

Andre,  49,  54,  58,  115. 

Andrea  Pisano,  164. 

Andrea  della  Robbia,  29,  30, 
52,  54,  64,  71,  72,  92,  108, 

1 17.  135.  136,  155,  158,  161, 

167,  170,  171,  179,  205,  208, 
212,  213,  218,  227,  232,  234, 
235,  237,  239,  246,  251,  266. 
Angel,  25,  41,  45,  47.  67,  69. 
70,  72,  74,  94,  95,  97.  101, 
109,  124,  125,  135,  139,  147. 
150,  1 51,  171,  179,  188-195, 
202,  205,  213,  220,  221,  228, 
231,  250,  251,  253,  256-261, 
264,  269,-271,  273,  274. 
Anjou,  162,  164,  204. 
Annunciation,  139. 
Annunziata,  141. 

Anonimo,  5,  79. 

Antonio  degli  Agli,  137. 
Antonio  di  Cristofano,  61, 65. 
Antonio  Rossellino,  167. 
Apostles,  76,  98-108,  165,  177, 
252. 

Apothecaries,  130. 

Apple,  50,  56,  72,  1 16,  1 17, 

1 18,  1 19,  145,  157,  162,  164, 
182,  213,  244. 

Arabesque,  133,  184,  149. 
Aragon,  179,  204. 

Arch,  66. 

Architects,  132. 

Architrave,  63,  212. 

Argent,  128,  132,  163,  179, 
182,  202,  268. 

Arithmetic,  37. 

Aristotle,  35. 

Armour,  74. 


Arms,  54,  132,  147,  157,  191, 
244,  245,  246. 

Arte,  130,  132,  134,  153,  181, 
182,  232. 

Artichokes,  182. 

Ascension,  29,  30,  76,  94,  101, 
1 13,  188. 

Ashmolean  Museum,  257. 
Ass,  221,  269. 

Assisi,  227. 

Assumption,  139,  273. 
Astrology,  38. 

Axe,  132. 

Azure,  128,  130,  162,  163,  207, 

273- 

Bacci,  Peleo,  27,  30. 

Baccio  da  Montelupo,  135. 
Bacini,  100. 

Baldachino,  136,  141,  142, 
143.  145,  151.  153.  207. 
Baldi,  157. 

Baldinucci,  66. 

Baldovinetti,  175,  250. 

Bale,  i8r. 

Balls,  85. 

Balustrade,  141. 

Bambini,  64,  135. 

Baptistery,  7.  61,  74,  164,  189. 
Baracco,  259. 

Barbel,  204. 

Bardac  Collection,  233. 
Bardini,  109,  170,  201,  240, 
243- 

Bari,  204. 

Baroncelli,  125. 

Bartolomeo  d’Agnolo,  25. 
Bartorelli,  157. 

Basket,  257. 

Bastianini,  250. 

Battista  d’Antonio,  3. 

Bead  and  reel,  7,  63,  141,  245. 
Beans,  182. 

Beak,  247. 

Beard,  102,  140. 

Beccani,  6. 

Beckerath  Collection,  201, 
219,  230,  231,  242,  266-267, 
273. 

Bellincione,  137. 
Bellosguardo,  123. 

Bench,  122,  130,  131,  188.  189, 
190,  192. 

Bend,  233,  268. 

Benda  collection,  119,  152, 

153.  154.  155- 
Benedetto  Buglioni,  30. 
Benozzo,  128. 


Berlin  Museum,  30,  69,  109, 
1 16,  153,  154,  160,  202,  205, 
227,  228,  229,  230,  232,  238, 
242,  243,  260,  266,  267. 

Bernardo  Gamberelli  ( Ros- 
sellino), 76,  94,  125. 

Bertoldo,  25. 

Bice,  Monna,  30. 

Billi,  5- 

Bishop,  123,  149. 

Blanc,  Charles,  235. 

Blessing,  74,  76,  101,  130, 
149.  153.  I7B  189,  195,  215, 
260. 

Bliss  Collection,  72,  156-158, 
159.  160. 

Bocchi,  25. 

Bode,  29,  33,  45,  47,  67,  71, 
108,  1 16,  121,  179,  205,  231, 

237,  238,  250,  258,  261. 

Book,  101,  103,  104,  106,  140, 

191,  192,  195,  213,  255. 

Bordure,  179,  203. 

Boston  Museum,  269. 

Botonny,  207. 

Boy,  231,  233. 

Boy  collection,  26. 

Braccio  Martelli,  248. 

Brazier,  204. 

Breast,  220. 

Breastplate,  205. 

Brignole  Collection,  272. 

Bronze  Doors,  73,  74,  79,  85, 
89,  no,  140,  149,  153,  171, 
l8o,  183-2OO,  202,  213,  2l6, 
217,  2l8,  249,  252,  255,  256. 

Brooch,  10,  47,  94,  1 15,  1 16, 
234- 

Brunelleschi,  3,  7,  18,  24,  44, 
61,  75.  98,  149,  186,  241, 
251,  252. 

Bruni,  125. 

Brussels,  161,  243. 

Billow,  259-260. 

Buggiano,  94,  122. 

Bunches,  66,  71,  128,  142, 
164,  167,  170,  202,  207,  251. 

Buondelmonti,  137,  141. 

P.urckhardt,  108. 

Burlamacchi,  21  r,  226. 

Bust,  231,  233. 

Buttons,  101,  104,  154,  155. 

Calcina,  37. 

Calimala,  85,  182. 

Calzaiuoli,  180. 

Campana,  90,  225,  229,  238, 
249. 


280 


INDEX 


281 


Campanile,  30,  34-40,  4 2,  63, 
64,  189. 

Cancelleria,  97. 

Candelabrum,  29,  30,  94,  95, 
106,  1 16,  1 19,  177,  205. 
Canessa,  231. 

Cantoria,  3-24,  29,  30,  35,  38, 
39,  42,  47,  50,  54,  61,  63, 
73.  76,  135,  187,  193.  226, 
228,  229,  234. 

Cape,  166,  213. 

Capital,  149. 

Cappella,  85,  91,  94,  98,  137, 
142,  151,  207,  213. 

Capponi,  21 1,  268. 
Cappuccini,  71,  270. 

Caprino  di  Domenico  Justi, 
l8\ 

Cardinal,  175,  179,  194,  204, 
249. 

Carding  Comb,  213. 
Carmine,  13. 

Carocci,  136. 

Carrara,  23. 

Carro  dei  Pazzi,  204. 

Carta  pesta,  238,  240,  242, 
267. 

Casotti,  136,  139. 

Cast,  263. 

Castellucci,  7,  41. 

Castile,  179. 

Castles  179. 

Cathedral,  Florence,  3,  5,  6, 
1 14. 

Cavalcanti,  94,  122,  129. 
Cavallucci,  226. 

Ceiling,  85,  89,  125,  133,  141, 
T51,  175,  207,  213-219. 
Cement,  127. 

Ceppo  Hospital,  27. 

Chair,  128. 

Chalice,  63,  164. 

Chamfered,  116,  154. 
Champleve,  64. 

Charity,  164. 

Charles  III,  164. 

Cheek,  158. 

Cherub,  64,  97,  126,  135,  215, 
237,  238,  238,  261,  272. 
Chestnuts,  182. 

Chin,  58.  72,  157,  167. 
Choral  Dancers,  13,  27. 
Chorale,  9. 

Christ,  63,  74,  76,  77.  no. 

125,  146,  147,  149,  231. 
Ciborium,  150. 

Circles,  127,  157,  208,  219. 
Cithara,  11,  14,  29. 

Citrons,  142,  164,  167,  182. 

213.  217.  218. 

Clamps,  233. 

Clausura.  33. 

Clock,  162,  182,  203,  216. 
Cloisons,  128. 

Clouds,  34,  74,  too,  104,  133 
166,  167,  169,  171,  191,  192. 


215,  216,  217,  220,  221,  251, 
254,  255,  256,  258,  264,  266, 

267,  269,  271. 

Club,  104. 

Cluny,  120,  164,  165,  166,  167, 
168,  178,  180,  213,  233,  245. 
Coat  of  Arms,  131,  132,  157. 
159,  161,  163,  164,  169,  178, 
179,  181,  244-248,  268. 
Coffering,  141,  1 5 1,  207. 
Collar,  104. 

Colombina,  204. 

Colonnette,  131. 

Colour  harmony,  121. 
Commissarius,  246. 
Composition,  10,  12,  13,  15, 
28,  42,  58,  71,  72,  76,  91, 
104,  1 1 7,  119,  121,  136,  143, 
150,  158,  160,  161,  163,  168. 
170,  171,  184,  187,  217,  229, 
238,  241,  243,  252,  258,264, 
265,  269,  272,  274. 

Concave,  176. 

Concentric,  98,  101,  20S. 
Conch,  157. 

Consoles,  6,  7. 

Consul,  130. 

Contract,  184. 

Cook,  Sir  Francis,  1 1 7. 
Copenhagen,  226,  227. 

Cord,  58,  104,  164,  182. 
Corinthian,  41. 

Cornice,  6,  23,  25,  184,  212. 
Coronal,  47,  63,  189. 
Coronation,  139,  169. 

Corpus  Christi,  61. 

Corselet,  178. 

Corsini,  239-243. 

Cortile,  155. 

Cosimo,  5,  139. 

Cosmati,  64. 

Courajod,  229,  230. 

Crescent,  161,  202,  242. 

Croce  di  Popolo,  246. 
Crocifisso,  83,  89. 

Cross,  74,  98,  101,  103,  104, 
107,  no,  145,  146,  147,  149, 
164,  179,  190,  194,  211,  245. 

268. 

Crosslet,  162,  207. 

Crown,  257. 

Cruciferous,  74,  215. 
Crucifixion,  41,  42,  43,  190. 
Crusader’s  banner,  74. 
Crutch,  64. 

Cruttwell,  29,  33,  39,  41,  50. 
55.  69,  71,  79,  99,  108,  116, 
136,  151,  155,  160.  161,  179. 
195.  205,  226,  258. 

Cubes,  91,  176. 

Cucumber,  162,  182,  202. 
Cuffs.  2~T. 

Cul-de-four.  175,  214. 
Cuoola.  33.  207.  251. 
Cushion.  213,  262,  265. 

Cyma,  213. 


Cymbal,  16,  27. 

Dado,  157. 

Dalmatica,  193. 

Damascene,  184,  186. 
Dardant  desir  ,204. 

David,  205. 

Decanter,  179. 

Deferrari  Collection,  272. 
Deliverance,  41,  42. 

Del  Migliore,  25,  45. 
Demidoff,  55. 

Dentils,  7. 

Desiderio,  61,  63. 

Diapered,  119,  214. 

Dirksen  Collection,  236-237, 
238. 

Disk,  141,  159,  160,  1 7 1 , 207, 

245. 

Doctors,  79,  149,  184,  187, 
193.  195. 

Dolphins,  162. 

Domenico  di  Francesco,  94. 
96. 

Dominus,  115. 

Donatello,  5,  6,  12,  15,  19,  37, 
41,  42,  43,  44,  64,  125,  135, 
139.  183,  186,  196,  247,  258, 
Donatus,  34. 

Double  motives,  194. 

Dove,  63,  177,  191,  194,  231, 
238,  245,  269,  270,  272. 
Dragon  wings,  204. 

Drapery,  63,  72,  94,  100,  101, 
102,  no,  141,  143,  149,  1 5 1 , 
158,  164,  167,  178,  188,  189, 
190,  193,  213,  221,  228,  236. 
238,  252,  254,  264,  270. 
Dreyfus,  229,  230. 

Drum,  1 2. 

Drummers,  12,  13,  29. 
Durrieu,  204. 

Duveen,  241. 

Eagle,  85,  102,  190,  191,  216, 
253.  254. 

Ear,  29,  143,  166,  189. 
Eastlake,  154,  155. 

Egg  and  dart,  7,  46,  63,  87. 
132,  136,  147,  164,  166,  202. 
239- 

Empoli,  91,  92. 

Enamel,  127. 

Epistle,  150. 

Ermine,  204. 

Escutcheon,  164. 

Estoille,  233. 

Estouteville,  162, 

Euclid,  38. 

Eugenius  IV,  98. 
Evangelists,  99,  165,  184,  187, 
214-219,  251-257,  262. 
Exegete,  193. 

Exergue,  35,  36,  38. 

Eyes,  See  Irises,  Pupils. 
Fabriczy,  6r,  89,  98,  108. 
Fabroni,  Cosimo,  32. 

Face,  126,  13 1,  149,  151,  155, 


28  2 


INDEX 


i/i,  177,  195,  239,  254,  256. 
Farth,  164,  167,  171. 

Feathers,  85,  191,  192,  254. 
Federighi,  52,  54,  91,  122-129. 

132,  134,  142,  147,  149,  157. 
Feet,  100,  104,  106,  110,  123, 
149,  157,  256. 

Ferdinando,  5. 

Fern,  64,  91,  131, 

Fess,  163. 

Fiesole,  27,  122,  137,  167,  168, 
202,  235. 

Figdor  Collection,  26,  39. 
Figs,  182. 

Filarete,  89. 

Fillet,  15,  16,  50,  52,  101,  132, 
169,  236. 

Finger,  117,  120,  158,  244. 
Fiorovanti,  30. 

Fitched,  162,  207. 

Fleur  de  lys,  164,  182,  204. 
Floral  designs,  7,  124,  127. 
Flowers,  12,  13,  122,  132,  133, 
143,  162,  169,  181,  182,  202, 

207,  213. 

Fluted,  162,  164,  182,  207, 

208. 

Foggini,  139. 

Footstool,  109. 

Fora,  3. 

Forehead,  58,  167. 

Forgery,  226. 

Forti,  Pietro,  211. 

Fortitude,  165,  175,  178. 
Foulc,  52,  170. 

Fortnum,  257-261. 
de  Foville,  47,  67,  69,  108, 
188,  258. 

Frames,  126,  131,  132,  135, 
141,  147,  149,  160,  162,  167, 

168,  169,  170,  175,  180,  182, 
184,  202,  212,  214,  215,  217, 
218,  219,  236,  245,  266. 

Francesco  d’Andrea  Fras- 
chetta,  3,  19. 

Franciscan,  260. 

Frescobaldi,  109,  122. 
Friedlander-Fould,  154. 
Friedrichstein,  160,  239,  243. 
Frieze,  142,  143,  147,  151, 
153,  212,  216. 

Fruit,  12,  13,  1 1 7,  128,  135, 
136,  142,  1 5 1 , 162,  164,  166, 

169,  181,  182,  202,  203,  207, 
214,  215,  216,  217,  219,  236. 

Gable,  147. 

Gallicano,  239. 

Galluzzo,  136. 

Garlands,  9,  12,  13,  14,  64, 
164,  165,  166,  202,  236, 
246,  251. 

Gavet  Collection,  156-158. 
Gaye,  129. 

Gem  cutter,  132. 

Genoa,  243,  272. 

Genoese,  119,  T52-155,  157, 
158. 


Geometry,  38. 

Gerspach,  127. 

Ghiberti,  12,  29,  46,  47,  74, 
79,  103,  125,  164,  186,  187, 
189,  193,  226,  228,  229. 
Ghirlandaio,  246. 

Gigli,  225,  249. 

Gilding,  28,  99,  100,  no,  115, 
124,  127,  128,  153,  159,  178, 
215,  216,  236,  264. 

Ginori,  233-234. 

Giottesque,  74,  76. 

Giotto,  34. 

Giovanna,  204. 

Giovanni  XXIII,  125, 
Giovanni  di  Bartolommeo 
184,  186,  187,  199. 

Giovanni  di  Domenico,  94. 
96. 

Giovanni  Lapi,  18,  20,  21. 
Giovanni  della  Robbia,  55. 

208,  232,  246,  270. 
Giovannino,  231. 

Girdle,  54,  104,  106,  120,  153 
157.  159.  169,  190,  241,  261 
Giudici,  181-182. 

Glaze,  26,  29,  58,  64,  95,  104. 
127,  155,  164,  227,  236,  237, 
238,  252,  255. 

Globe,  168,  178. 

Gloria,  171,  220,  272. 

Goblet,  179. 

God  Father,  33,  63,  98,  113, 
215-216,  250-251,  272. 
Godemini,  31. 

Gold.  127,  128,  133,  134,  157, 

166,  167,  171,  177,  183. 
Goldsmith,  100,  101. 
Golgotha,  147. 

Gonfalonieri,  245,  246,  248. 
Gospel,  150,  254,  255,  257. 
Gothic,  11,  53,  152. 

Gradino,  139. 

Grammar,  34,  35. 

Grand  Dukes,  118. 

Grapes,  135,  142,  162,  164, 

167,  168,  182,  202,  213,  216, 
217,  218. 

Grassi,  237. 

Graticola,  184,  197. 

Grief,  147, 

Griffin,  247. 

Grille,  146. 

Guelfa,  181. 

Guild,  130,  132,  133,  134,  135, 
Guilloche,  64,  133,  147. 

Gula,  33. 

Gules,  162,  164,  182,  203,  204, 

247. 

Hackensack,  271. 

Hainauer  Collection,  241. 
Hair,  47,  50.  52,  53,  54,  71, 
74,  95,  106,  no,  115,  131, 
140,  153,  157,  159,  171,  178, 
189,  190,  218,  236,  240,  254, 
255,  256. 

Hair-cloth,  149,  231. 


Halo,  54,  72,  74,  76,  99,  101, 
106,  120,  153,  155,  160,  191, 
215,  228,  240,  241,  255,  257, 
260,  266. 

Hands,  52,  54,  69,  100,  102, 
106,  123,  158,  166,  167,  171, 
217,  219,  264. 

Harmony,  38. 

Harp,  14. 

Hay,  219,  221,  269,  271,  273. 
Head,  29,  33,  47,  58,  79-84, 
98,  102,  104,  120,  153,  167, 
186,  215,  217,  232,  234,  235. 
Headdress,  234,  264,  270. 
Heilbronner,  164,  165,  166, 
167,  169,  171,  178,  213,  235. 
Helmet,  204. 

Hippo,  193. 

Holman  Hunt  Collection 

239,  266. 

Holy  Cross,  134,  141,  179, 
190,  202,  213,  269. 

Holy  Spirit,  97,  133,  175, 
177- 

Hope,  164. 

Horns,  257. 

Hospital,  61,  63,  64. 

Host,  150. 

Hungary,  204. 

Impruneta,  105,  no,  119,  134, 
136-152,  153,  157,  160,  163, 
1 71,  179,  190,  193,  202,  207, 
213,  237-239,  269. 

Incense,  195. 

Incredulity,  20T. 
Inescutcheon,  204,  246. 
Inkstand,  101,  191,  192,  256, 
Innocenti,  58,  64,  115,  116, 
1 35 ; 

Inscription,  257. 

Irises,  9,  28,  29,  47,  50,  52, 
53.  58,  67,  74,  76,  94,  98, 
100,  114,  115,  117,  119,  120, 
121,  131,  140,  149,  153,  154. 
155,  158,  160,  166,  167,  169, 
1 7 1,  178,  205,  220,  221,  226, 
232,  234,  235,  236,  237,  238, 

240,  251,  255,  256,  263,  264, 
269,  271,  272. 

Isabella,  175. 

Isabelle,  203. 

Isocephalism,  8,  14. 

Jacopo  da  Portogallo,  175. 
180. 

Jamaica  Plain,  158,  264. 
James,  257. 

Jerusalem,  204. 

Johnson  Collection,  2=;o. 
Joints,  67,  113,  168,  180. 
.Tubal,  36. 

Justice,  165,  168-169,  176,  178. 
Justus  de  Allemagna,  243. 
Kahn,  Otto  H..  221,  269. 
Kaiser-Friedrich-Museum- 
Verein,  227. 

Kaiser  Wilhelm  Museum 
219. 


INDEX 


283 


Kann,  Maurice,  2 33. 

Keys,  42,  101. 

Knee,  106,  188,  189. 

Knife,  108. 

Krefeld,  219,  221,  231. 

Label,  162,  164. 

Lady,  234,  235. 
Lamporrecchio,  27. 

Lanz,  231. 

Lapo  di  Portigiani,  241. 
Latin,  104. 

Laurel,  9,  14,  63,  87,  208. 
Lazzari,  Andrea,  75 
Leaf  and  dart,  7,  46,  63,  87, 
91,  127,  141,  182,  212,  215. 
Leather,  260. 

Lectern,  249. 

Legs,  102,  226,  255. 
Lemons,  164,  202. 

Leon,  179. 

Leoni,  246. 

Lethaby,  90. 

Liberal  Arts,  36. 
Liechtenstein  Collection, 
262-263,  264,  270. 

Lilies,  46,  51,  52,  66,  128,  132, 
181,  262-266. 

Lion,  193,  218,  245,  246,  252, 
255.. 

von  Liphart,  252. 

Litta,  161. 

Loggia  dei  Pazzi,  202. 
Logic,  30,  36. 

Lorenzo,  Bartoluccio,  18. 
Lorenzo,  Simone  di,  75. 

Los  en  croissant,  204. 

Louis  III,  204. 

Louvre,  229,  235,  237,  238, 
261. 

Lunette,  45,  50,  52,  54,  56, 
58,  63,  66,  69,  72,  73,  76, 
1 13,  122,  153,  171,  188,  202, 
228,  250,  272. 

Lux  Mundi,  114,  115,  189. 
Mace,  178. 

Maddalena,  161,  163. 
Madonna,  47,  49,  51,  52,  53, 
54-  55-  57-  66,  67,  69,  7°, 
72,  94,  109,  no,  1 13,  1 15, 
116,  1 1 7,  118,  119,  121,  122, 
125.  130,  131.  137.  140,  141, 
142,  143-  144.  145-  147,  152, 
J53-  154-  155,  156,  158,  160, 

170,  184,  187,  188,  199,  220, 
221,  226,  227,  228,  229,  230, 
237-244,  258-273. 

Madonna  del  Fiore,  no. 
Maiano,  Giuliano  da,  98. 
Mantle.  10.  52,  58,  69,  94, 
104,  no,  115,  131,  158,  159, 

171,  189,  231,  235,  236,  241, 
251,  25;,  261,  266. 

Maria  Maddalena,  145. 
Marquand  Collection,  156. 
Marrai.  7,  40,  41. 

Martelli,  247-248. 


Martini,  Domenico,  211. 

Martyrs,  125. 

Marzocco,  218,  255. 

Masaccio,  13,  112. 

Mask,  33,  166. 

Maso  di  Bartolommeo,  79, 
85,  89,  113,  183,  184,  186, 
196,  197,  198,  199,  241. 

Mater  Dolorosa,  145,  147. 

Mather,  R.  G.  127,  161. 

Matteo  da  Prato,  14,  18. 

Matteo  dei  Strozzi,  18,  19,  20. 

May,  90. 

Medallion,  91,  98,  99,  100, 
104,  130,  132,  134,  161,  164, 
165,  167,  168,  170,  175,  177, 
178,  179,  180,  182,  191,  202, 
203,  205,  207,  214-219,  228- 
231,  234,  235,  239,  251-261. 

Medici,  85,  242. 

Medici  Cosimo  de’,  89. 

Medici,  Cosimo  III  de’,  5. 

Medici,  Giovanni  de’,  89,  208. 

Medici,  Lorenzo  de’,  248. 

Medici,  Piero  de’,  85,  88,  89. 
92,  141,  208. 

Medici,  Vieri  de’,  5. 

Mele,  153. 

Mercanzia,  163,  180-183,  201, 
202. 

Mercato  Vecchio,  45. 

Merlini,  145,  146. 

Metallurgy,  38. 

Metopes,  8. 

Metropolitan  Museum,  58, 

231- 

Michaelis,  117. 

Michelozzo,  61,  79,  85,  89, 
139,  141,  183,  184,  186,  188, 
189,  193,  194,  195,  196,  197, 
198,  199,  241. 

Milanesi,  33,  97,  184. 

Minerbetti,  Giovanni,  40. 

Mino  da  Fiesole,  167,  168, 
235- 

Mirror,  26,  166,  178. 

Mitre,  124,  193. 

Molinier,  226. 

Mond,  239,  230. 

Monk,  249. 

Montague,  27 2. 

Montepulciano,  193. 

Montevarchi,  92. 

Monticelli,  163. 

Morning-glory,  64,  128. 

Morgan,  J.  P.,  229,  231. 

Moro,  Luigi  del,  6. 

Mosaic,  64,  127,  134,  176. 

Mouldings,  124,  127,  132,  135, 
141,  147,  150,  166-189,  216. 

Mountains,  76,  219. 

Mouth,  54.  58,  72,  94.  143, 
157.  167. 

Mugello.  69. 

Miintz,  89. 

Musee  Jacquemart-  Andre, 
49. 


Museo  Industriale,  229,  231. 
Museo  Nazionale,  6,  30,  41, 
45,  66,  94,  1 17,  118,  119, 
121,  131,  145,  153,  155,  157, 
231,  234,  269,  270,  271. 
Museo  del  Opera  del  Du- 
omo,  3,  6,  7,  41,  250. 
Music,  36,  37. 

Musicians,  7. 

Nanni  da  Miniato,  3,  19. 
Nanni  di  Banco,  132. 

Nanni  di  Piero  Ticcii,  3,  21, 
23,  24. 

Nativity,  220,  221,  269,  271, 
273- 

Neck,  54,  131,  158. 

Necklace,  234. 

Neckband,  no. 

Newman  School,  271. 
Niccolo,  18,  19,  20,  21,  22, 
258. 

Niche,  72,  123,  125,  156,  157, 
t 158,  159- 

Nimbus,  100,  143,  171,  216, 
238, _ 239,  254,  260,  269. 
Nobili,  Leonello  di,  57. 
Nose,  54,  72,  95,  157,  167,  246. 
Nude,  12,  25,  52,  158. 
Nynehead,  51,  53. 

Octagon,  87. 

Olive,  74,  124,  128,  182. 
Omega,  63,  251. 

Operai,  183. 

Opus  Sectile,  127. 

Or  S.  Michele,  47,  52,  130, 
132,  134,  135,  180,  181,  183, 
189,  201,  202,  212,  232. 
Oranges,  135,  162,  164,  167, 
168,  182,  213,  216,  217,  218. 
Orcagna,  47.  ■ 

Organ,  14,  27. 

Orlandi,  Francesco,  44. 
Orpheus,  36,  37. 

Osservanza,  30. 

Ospedale,  1 15,  241. 
Ospitalieri,  211,  213. 

Oval,  127,  238. 

Ovolo,  14. 

Ox,  192,  217,  221,  252,  256. 
Oxen,  269,  137. 

Pagno  di  Lapo,  76,  94,  139, 
141. 

Palazzo  Bianco,  269-272. 
Palazzo  Episcopale,  211,  268. 
Palazzo  Pretorio,  246. 
Palazzo  Vecchio,  119. 

Pales,  204. 

Paliotto,  139. 

Pall,  124. 

Palm,  74. 

Palmettes,  92. 

Panciatichi,  167. 

Panel,  125,  141,  183-195,  213. 
Papal,  101. 

Pavement,  89,  91,  92,  175. 


284 


INDEX 


Pazzi,  Andrea  dei,  98,  99, 
108,  202. 

Pazzi,  Antonio  dei,  98,  108, 
246. 

Pazzi  Chapel,  29,  52,  61,  64, 
85,  98,  109,  no,  120,  140, 
161,  165,  167,  169,  171,  177, 
190,  191,  202,  207,  213,  216, 
218.  228,  234,  251-257. 

Pazzi,  Costanza  dei,  248. 

Pazzi,  Jacopo  dei,  98,  102, 
136,  143,  161-163,  164,  165, 
169,  202,  204,  208,  216,  234, 
242,  245. 

Pazzi,  Pazzo  dei,  204. 

Pazzi,  Piero  dei,  98,  202. 

Pearl,  215,  234. 

Pears,  182,  202. 

Pediment,  63. 

Pedro  Infante,  175. 

Pelican,  147. 

Pen,  101,  102,  140,  192. 

Pendentives,  99,  251. 

Peretola,  42,  47,  54^61-65,  74, 
91,  97,  124,  131,  147,  149, 
189,  191,  215,  251. 

Perghamo,  3. 

Periphery,  176,  177,  208,  215. 

Perspective,  76,  229. 

Pescia,  103,  211-213,  268. 

Physicians,  130. 

Pieta,  63,  125,  147. 

Piazza  Vittorio  Emanuele 
45- 

Pieve,  137. 

Pilasters,  6,  7,  149,  212. 

Pillow,  123,  124. 

Pine  cones,  128,  136,  141, 
149,  151.  162,  164,  167,  168, 
182,  202,  213,  216,  217,  218, 
236. 

Pippo  Spano,  145. 

Pisano,  Andrea,  34. 

Pistoia,  26,  27,  29,  39,  52, 
.94- 

Pius  II,  175. 

Plates,  128. 

Plato,  35. 

Plums,  182,  202. 

Pluvial,  101,  193. 

Poetry,  36. 

Poggi,  3,  6,  25,  36,  40,  43, 

7^.  T2Q. 

Politi  Vincenzio,  31. 

Pollaiuolo,  175,  238. 

Polychromatic,  99,  102,  126, 
1-12,  251,  270. 

Polvchromv,  28,  123,  131, 
164,  182,  227,  231,  239,  245, 
231.  237,  267. 

Pomegranates,  128,  136,  182. 

Pope.  T04. 

Ponoies.  182. 

Pomdari,  181. 

Pornhyry,  162,  208,  234. 

Porta,  135. 


Porta  del  Noviziato,  61,  139. 

Porta  della  Mandorla,  47. 

Porta  S.  Maria,  134. 

Portogallo,  52,  87,  92,  109, 
131,  133,  147,  iso,  165,  166, 
167,  168,  171,  175,  207,  216. 

Pose,  102,  109,  228,  254. 

Pourtales,  49. 

Predella,  64. 

Prato,  29. 

Predella  ,109,  139,  147,  150. 

Priori,  97,  233,  245,  248. 

Priorista,  128. 

Proconsolo,  161. 

Prophets,  79-84,  184. 

Proportions,  171,  189,  194, 
226. 

Prudence,  120,  164,  165,  166- 
167,  176,  177-178,  235. 

Psalm,  7. 

Psaltery,  10,  II. 

Ptolemy,  38. 

Pupils,  9,  28,  29,  47,  50,  52, 
53.  67,  74,  98,  100,  1 14,  1 15, 
1 17,  1 19,  120,  121,  13 1,  140, 
149,  153,  154,  155,  160,  167, 
169,  178,  205,  220,  222,  226, 
232,  234,  235,  236,  237,  240, 
255,  256,  263,  264,  269,  271, 
272. 

Putti,  10,  11,  97,  135,  15 1 

153.  233. 

Quaratesi,  161,  163. 

Quatrefoils,  131,  186. 

Quatro  Incoronati,  132. 

Quince,  135,  142,  143,  164, 
167,  168,  182,  202,  213,  216, 
217,  218. 

Ragusa,  137,  184. 

Raphael,  139. 

Rays,  177. 

Reliquary,  146,  150. 

Renato,  202. 

Rene  d’Anjou,  147,  161,  163, 
202-205,  242. 

Replica,  143,  155,  158,  160. 

Resurrection,  29,  73,  74,  76, 

77.  113.  147- 

Reymond,  Marcel,  7,  47,  55, 
61,  67,  71,  79,  108,  109,  1 16, 
1 1 7,  158,  161,  170,  188,  193, 
252,  258. 

Rhetoric,  36. 

Rhythm,  163,  217. 

Ribbon,  n,  66,  71,  142,  162, 
164,  169,  245. 

Ribs,  94,  95,  159. 

Riccardi,  89. 

Riccialbani,  22,  44. 

Richmond,  117. 

Ring,  85. 

Rinuccini,  225. 

Robinson,  J.  C.,  90,  225,  226. 

Roof,  85. 

Rose,  12,  46,  1 16,  128. 

Rose  Garden,  121. 


Rosette,  37,  63,  64,  87,  91,  94, 

1 19,  141,  147,  1 51,  208,  212. 
Rossellino,  167,  175,  214,  215. 
Rossi,  Umberto,  118. 
Roundel,  90,  91. 

Rovezzano,  261-266. 

Ruffle,  30,  50,  54,  56,  69, 

120,  169. 

von  Rumohr,  41,  187,  226. 
Ryan  Collection,  233,  267. 
Ryks  Museum,  247. 

Sable,  21 1,  268. 

Sacristy,  29,  73,  76,  79,  94, 
106,  140,  183,  184. 

Saltire,  246. 

Salutati,  168,  235. 

Salvi  Neronis  Dietisalvi,  21. 
Salviati,  Bernardo,  44. 

S.  Agostino,  149,  187,  188, 
193.  195.  213. 

S.  Alberto,  114. 

S.  Ambrogio,  149,  187,  193- 

194- 

S.  Andrea,  77,  98,  99,  100, 
103,  108,  262. 

S.  Anna,  182. 

S.  Ansano,  27,  205. 

S.  Bartolommeo,  77,  100, 
108. 

S.  Biagio,  21 1,  213. 

S.  Carlo,  182. 

S.  Castro,  132. 

S.  Caterina,  269,  271. 

S.  Croce,  61,  98,  125,  165, 

251. 

S.  Domenico,  56,  58,  69,  113- 

115. 

S.  Donato,  55-56. 

S.  Elisabetta,  27,  30,  31,  32, 

52,^  77- 

S.  Filippo,  100,  106. 

S.  Fiora,  91,  243. 

S.  Francesco,  227. 

S.  Francesco  di  Paolo,  123. 
S.  Gemignano,  92. 

S.  Giobbe,  207,  213-219,  251, 

252. 

S.  Giovanni  Battista,  70,  149, 
184,  187,  188,  189-190,  197, 
2i3- 

S.  Giovanni  Evangelista,  63, 
85,  100,  102,  125,  140,  147, 
187,  190-191,  215,  216,  252- 
254- 

S.  Giovanni  fuorcivitas,  27. 
S.  Giovanni  Gualberto,  85. 

S.  Giovanni  Laterano,  66. 

S.  Giovanni  Valdarno,  246. 

S.  Girolamo,  187,  194,  249, 
250. 

S.  Giuseppe,  220,  221,  269. 

S.  Gregorio,  187,  194. 

S.  Jacopo  Maggiore,  100,  102, 
103,  T75.  211,  213,  214,  239. 
S.  Jacopo  Minore,  100,  104. 
S.  Leonardo  in  Arcetri,  7. 


INDEX 


285 


S.  Lorenzo,  37,  63. 

S.  Luca,  61,  79,  1 37,  139,  140, 
187,  192,  217,  218,  252,  256- 
257- 

S.  Lucia,  155. 

S.  Marco,  79,  187,  192,  193, 
218-219,  252,  255. 

S.  Maria,  63,  136,  221,  269. 
S.  Maria  in  Gastello,  243. 

S.  Maria  del  Fiore,  12,  65, 

73,  76,  79,  121. 

S.  Maria  delle  Grazie,  64. 

S.  Maria  dell’  Impruneta, 
137. 

S.  Maria  Novella,  246. 

S.  Maria  Nuova,  30,  61,  63, 
65,  1 19,  131,  241. 

S.  Maria  in  Pineta,  14 1 , 145. 
S.  Maria  sopra  la  Porta,  134. 
S.  Maria  in  Porticu,  175. 

S.  Maria  della  Quercia,  158. 
S.  Maria  dei  Servi,  141. 

S.  Matteo,  52,  100,  101,  102, 
171,  187,  191,  218,  252,  255- 
256. 

S.  Mattia,  100,  107. 

S.  Michele  in  Orto,  182. 

S.  Miniato,  7,  85,  89,  109, 
142,  175,  207,  214,  216,  217. 
S.  Nicostrato,  132. 

S.  Pancrazio,  123. 

S.  Paolo,  41,  44,  105,  139. 

S.  Pierino,  30,  45-48,  50,  52, 
54,  56,  58,  66,  67,  69,  1 14, 
122,  153,  171,  228,  251. 

S.  Piero  Maggiore,  45,  66. 

S.  Pietro,  41-44,  45,  47,  64 

74,  77,  100,  101,  102,  109, 
189,  193,  211. 

S.  Pietro  in  Campo,  211. 

S.  Pietro  Martire,  113,  1 1 5. 
S.  Romolo,  149. 

S.  Simone,  100,  104,  120. 

S.  Simplicio,  132. 

S.  Sinfuriano,  132. 

S.  Stefano,  27,  184. 

S.  Taddeo,  29,  100,  105. 

S.  Tommaso,  77,  100,  106, 
181,  201-202. 

S.  Tommaso  d’Aquino,  114. 
S.  Trinita,  85,  122,  123. 

S.  Zanobi,  18,  19,  43,  125, 
149. 

Sanford,  51,  53. 

Santi  Buglioni,  30. 
Sarcophagus,  74,  124. 
Scalabrino,  31. 

Scale  pattern,  87,  175,  214. 
Scarf,  37. 

Scarpellini,  133. 
von  Schlosser,  36,  39. 
Schmarsow,  187. 
Schottmiiller,  227. 
Schubring,  8,  25,  33,  42.  47, 
61,  108,  158,  192,  201,  231, 
252,  257,  258. 


Scolari,  Filippo  degli,  145. 
Scrittoio,  90. 

Scroll,  17,  38,  58,  67,  106,  11S, 
133,  150,  157,  I7L  189,  204, 
233- 

Sculptors,  132. 

Segni,  Alessandro,  5. 

Seme,  204. 

Semitic,  252. 

Semper,  85. 

Sepulchral,  175. 

Seraph,  64. 

Serpent,  178. 

Serpentine,  131,  208. 

Serra,  152. 

Serristori,  136,  143,  161,  163, 
164,  165,  208,  216,  217,  234, 
Servi,  3,  24. 

Shaw  Collection,  72,  158,  160, 
264-265,  269,  271,  273. 
Shelf,  238. 

Shell,  102,  162,  164,  182,  208. 
Shield,  135,  162,  178,  179, 
202,  207,  245,  246. 
Shoulders,  98. 

Sicily,  204. 

Siena,  30,  61. 

Signoria,  164. 

Silk  Merchants,  134. 

Silver,  184,  186,  189. 

Simon  Collection,  153,  154, 
155,  263-264. 

Skull,  147. 

Sleep,  74. 

Sleeves,  10,  35,  153,  154,  240. 
256. 

Sloping  grounds,  74. 

Smock,  153,  241. 

Snake,  166. 

Somzee  Collection,  161,243. 
Soffit,  7. 

Sotto  in  su,  192. 

Spandrels,  149,  157,  159,  165. 
Spiritello,  63,  97. 

Sportello,  61,  63,  139. 
Square.  87,  141,  186. 

Stabat  Mater,  147. 

Stable,  269. 

Staff,  102. 

Stamen,  132. 

Stars,  182,  272. 

Statens  Museum,  226. 
Stefano  della  Bella,  137. 
Stemma,  130,  132,  134,  135, 
136,  143,  153,  161,  163,  180, 
202,  216,  217,  233,  234,  244- 
248,  268. 

Stigmata,  74. 

Stole.  101,  124,  193,  194. 
Stone-mason,  132. 

Stripes,  160. 

Strozzi,  97. 

Stucco,  10,  225,  226,  240,  241, 
243,  260. 

Study,  89,  90. 

Stufa,  244. 


Sward,  265,  266,  267. 

Sword,  106,  168,  178. 
Symmetry,  8. 

Syndic,  130. 

Tabernacle,  61,  63,  74,  85, 
94,  no,  131,  136,  145,  146, 
147,  152,  184,  186,  201,  202, 
212,  213,  215,  270,  272. 
Taddeo  Gaddi,  30. 

Taenia,  15. 

Talenti,  F'rancesco,  34. 
Talons,  191. 

Tambourine,  15,  27,  39,  63. 
Tantini,  66. 

Tassel,  104. 

Tau,  194,  211. 

Tavola,  21 1. 

Temperance,  120,  164,  165, 
166,  167-168,  169,  176,  179- 
180,  235. 

Thiers  Collection,  235. 
Thistles,  182. 

Throne,  109. 

Tiara,  194. 

Tobias,  139. 

Tolomei,  Pietro,  44. 

Tomb,  175. 

Tondo,  71. 

Ton  gue  ornament,  7,  23. 
Tonsure,  194. 

Tornabuoni,  246,  248. 
Torrigiani,  204. 

Torso,  147,  192. 

Tragedy,  107. 

Treasurer,  130. 

Trees,  74,  76. 

Triptych,  212. 

Trumpets,  9,  10,  226. 
Trumpeters,  9,  16,  225-226, 
229. 

Tubalcain,  30,  38,  180. 

Tunic,  9,  11,  54,  94,  189,  236, 
241,  251. 

Turban,  11,  29. 

Uccello,  Paolo,  73,  74. 

Uffizi,  41,  119. 

Universita,  180-183. 

Urbino,  52,  56,  58,  69,  1 13, 
1 1 5,  153- 

Vasari,  5,  25,  35,  38,  45,  66, 
85,  80,  98,  250. 

Vault,  8q,  r8o,  214,  252. 

Veil.  56,  69,  143,  240,  264, 
266. 

Venice,  207,  213-219. 
Venturi,  47,  67,  188,  193,  194, 
195,  226,  258. 

Verde  di  Prato,  85. 

La  Verna,  52. 

Verrocchio,  139,  180,  201, 
202.  208. 

Via  dell’  Agnolo,  46,  52,  58, 
66-68,  69,  70,  1 14,  122,  153, 
25  Q 

Vicarius,  246. 

Victoria  and  Albert,  Mu- 


286 


INDEX 


seum,  IO,  42,  89,  202,  225, 
249,  267. 

Villa  Panciatichi  Ximenes 
202. 

Villa  Pazzi,  202. 

Violante  Beatrice,  5. 
Virtues,  151,  167,  175,  178, 
179,  214,  253. 

Visitation,  26,  27-32,  39,  94. 
Viterbo,  158. 


Volterra,  137. 

Waves,  189. 

Wellington,  51-54. 

Wicker,  221,  269. 

Wills,  128. 

Wings,  63,  67,  74,  94,  125, 
126,  135,  169,  178,  184,  215, 
256,  260,  261. 

Wingless,  167,  169. 

Wood,  94,  147. 


Woodcarver,  132. 

Wreath,  46,  71,  124,  125,  181, 
182. 

Wristband,  153,  155. 

Youth,  205,  232. 

Yriarte,  88,  115,  184. 

Zeloni,  Bartolomeo,  31. 
Zeus,  99. 

Zucche  164,  167,  182. 


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